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Category: WCA Podcast

WCA #158 with Eddie Kramer

Working Class Audio with Eddie Kramer

WCA #158 with Eddie Kramer

Legendary producer/engineer Eddie Kramer has worked with Jimi Hendrix, The Rolling Stones, The Beatles, Traffic and a myriad of other major recording stars.

More on Eddie here: http://www.eddie-kramer.com/

About this Interview:

One day I received an email with the subject line Guest suggestion/Eddie Kramer from Clifton David Broadbridge. The email read “I work with Eddie in Toronto. I’m his studio partner and assistant,, was wondering if you would like to interview him for your podcast? He would be totally into it!” I almost fell out of the chair! Long story short, I replied back, spoke with Clifton, then spoke with Eddie, and next thing I know I’m wrapping up an interview with someone who is responsible for some of the most incredible records in music history. I was a little stunned afterward. Sincere, funny, and full of energy is how I would describe Eddie Kramer. We talk about his photography, Jimi Hendrix and the new record coming out, Led Zeppelin, business, diversification, leaving South Africa for England, the famous Troggs tape, music today vs. the past, rebuilding the El Mocambo club with a studio inside, and much more. Enjoy! Happy Holidays! Matt

Show notes and links:

WCA #157 with Dana Jae

WCA #157 with Dana Jae

Dana Jae’s career as an audio engineer spans 34 years since the first day she began to record and mix songs on her Tascam PortaStudio in the early 80’s while attending college at UC Berkeley. She formed several of her own bands performing and recording until 1988 when she discovered that the “behind-the-scenes” tech realm was much more to her liking. Dana then began a career as a live sound engineer and has toured extensively throughout the U.S. and Europe as front-of-house sound engineer for a multitude of bands on various record labels and have been a staff engineer at the venerable Bottom of the Hill nightclub since their inception in 1991.

Dana has owned and maintained a live sound production company since 1989 under the moniker dcj Productions, that has provided sound to the Bay Area community (mostly in the non-profit sector) in both large-scale, outdoor sound events as well as nightclubs and music halls. In 1991, she started recording bands on an 8-track Tascam TSR-8 analog tape recorder and moved into the digital realm in 1993 to 16-tracks of Alesis ADAT in her home studio. In 1995, Dana advanced to using Pro Tools and has been recording exclusively digital ever since, combining audio skills in sound for film as a location recordist as well as in post-production sound design and mixing. Dana says she still prefers the sonic rapture of “strictly analog” in live sound mixing, however.

Dana co-owned and was the President of APG Records & APG Studios, a record label and recording studio from 1999 – 2004 which had a distribution deal through EMI.

In 2001, Dana was hired to the part-time faculty at City College of San Francisco in the Broadcast Electronic Media Arts department where she has taught Digital Media Skills, Basic Audio Production, Digital Audio Production, Sound Recording Studio, Sound For Visual Media, Advanced Sound Recording, Sound Reinforcement, Audio for the Web, Video for the Web, Field Video Production, classes in sound design, audio for animation and games, music video, and computer applications at Laney College in Oakland, CA, Art Institute of California-San Francisco, and Globe Recording Institute in San Francisco.

About this Interview:

I’ve known Dana Jae since the late 90’s. We crossed paths working at local San Francisco pro audio dealers Audio Images and Cutting Edge Audio  and also worked briefly together at a small record company. Since then we have stayed in touch over the years and recently ran into each other at an audio event where we planned this interview. We discuss how Dana got into audio and her journey through live sound, studio sound, film sound, pro audio retail and her current gig at City College of San Francisco. Enjoy!

Show notes and links:

WCA #156 with Justin Perkins

WCA #156 with Justin Perkins

WCA #156 with Justin Perkins

Justin Perkins has been recording music since his mid-teens. It all started in his father’s basement then progressed to recording studios around the state of Wisconsin including the renowned Smart Studios in Madison, Wisconsin before relocating to Milwaukee, Wisconsin where he now has his own mastering studio called Mystery Room Mastering. Justin’s clients include Tommy Stinson, The Replacements, The Figgs, The Gaslight Anthem, Daryl Stuermer, Screeching Weasel, The Mr. T Experience, The Smoking Popes, Limbeck, Miles Nielsen, and Tenement. Justin also recently mixed a new documentary about the legendary 90’s band Jawbreaker called “Don’t Break Down”. Outside of the studio, Justin has played bass in some of his own bands as well as with the newly reformed Bash & Pop, Tommy Stinson, Paul Collins Beat, Cory Chisel, and a few others.

About this Interview:

Every time I post about a new WCA show on Twitter there was always one guy who liked it, shared it, or commented on it and that was Justin. Naturally, I wanted to know who Justin Perkins was and why he was always liking the show so one day I visited his website Mystery Room Mastering and it was then I fully understood just how badass this guy was plus I was just blown away at the thorough nature of his website. Justin had reached out before to invite me to a Bash and Pop show he was playing in San Francisco (I was unable to go) so I wasn’t completely unaware of his background but I had to talk to him! So after reaching out, scheduling, and conducting my interview I had a whole new appreciation for Justin. We chat about his journey and his website and the usual WCA topics (clients, business, work/life balance, etc…).  -Enjoy!

Matt

Show notes and links:

WCA #155 with Andrew Maury

WCA #155 with Andrew Maury

Andrew Maury is an American record producer, audio engineer, and mixing engineer based in Brooklyn, New York. Maury has worked with artists such as Lewis Del Mar, Ra Ra Riot, Shawn Mendes, Grace Mitchell, Strange Names, Post Malone, RAC, Panama Wedding, Atlas Genius, Kimbra, Delicate Steve, Milagres, High Highs, Penguin Prison, Kisses, Satchmode, COIN, The Kooks, and CRUISR. In the summer of 2009, he worked on Tegan and Sara’s Sainthood alongside producer and Death Cab for Cutie guitarist Chris Walla at the world-famous Sound City Studios in Los Angeles. Maury also spent years mixing front of house on tour for artists such as Ra Ra Riot and Givers and has mixed shows for bands such as Delicate Steve, Surfer Blood, and Chairlift.

About this Interview:

Andrew talks to me from his home in Brooklyn, NY about  management, health, working in the pop world as a rock guy, gear lust, Sound City, and much more.  Many thanks to listener Chad Wahlbrink for suggesting Andrew.

Show notes and links:

The Patchbay I mention in the monologue: https://www.flocktechnologies.com/

WCA #154 with James Tuttle

WCA #154 with James Tuttle

James Tuttle is an recording/mixing engineer and producer with 40 years in the trenches. After growing up playing in local bands in the midwest and Colorado he traded his place on stage for a place behind the console and never looked back. He has worked with everyone from Carole King and Dan Fogelberg to Joe Ely and Big Head Todd and the Monsters. He is a 2 time Grammy nominee for his mixing work with singer/songwriter Eliza Gilkyson and Jungle Jazz For Kids creator Mark Oblinger. He currently lives outside of Boulder, Colorado where he returned to after a stay in the fertile music mecca of Austin TX. He continues to be actively involved in making records with local and national artists. After a long affiliation with Airshow Mastering where he had a mix room, he now works from his home studio and from the Studio at eTown Hall.

His ongoing affiliation with the eTown syndicated radio show/podcast spans 20+ years where he is the chief recording engineer. Working on the eTown show has afforded him the opportunity to record and mix hundreds of  artists including:  James Taylor, Mumford and Son, Los Lobos, Michael Franti, Lyle Lovett, Imogen Heap, Rickie Lee Jones, Randy Newman, Ben Folds, Atmosphere, Emmy Lou Harris, Brother Ali and many, many more.

About this Interview:

WCA #154 features US recording/mixing engineer and producer James Tuttle. James originally emailed me knowing I would be in Colorado to see if I wanted to sit down for coffee. Once I saw that James had a serious background I countered his coffee offer with a an interview in a local coffee shop. With my portable rig in tow we got caffeinated and talked money, E-Town  (https://www.etown.org/ ) where  James has been at the last 20 years, his connection to David Glasser , recording in Austin and being in Carol King’s backup band. Enjoy! -Matt

Show notes and links:

  • E Town: https://www.etown.org/
  • The Documentary we mention: http://www.shopkeepermovie.com/
  • The studio in the above documentary: http://congresshouse.com/
  • Arguments for FCC Net Neutrality: https://goo.gl/NpHxWW
  • Arguments against FCC Net Neutrality:  https://goo.gl/DCjA1V

WCA #153 with Katie Tavini

WCA #153 with Katie Tavini

Katie Tavini began working as a producer and engineer before a piece of advice changed everything for her. “I was looking to improve my mixes,” she recalls. “Someone told me that if I wanted to do that I should learn to master. Whether it was good advice or not I took it. I loved what I discovered and never looked back.”

With a fine balance of curiosity and experience, Tavini is now a mastering engineer with a rich and diverse client-list far bigger than any sound or scene.

“I like things with a lot of influences,” she adds. “I like not being able to place a piece of music immediately and I love working with bands and artists who push their boundaries. I’ve found that a willingness to try and explore something new has often led to amazing results for my clients.”

Katie is a mastering engineer who encourages, refines, expands and finishes. She loves to amplify the emotion and energy of an artist while bringing clarity and consistency to their art. People do not hear her best work, they feel it.

“Most people don’t think about how music moves them,” admits Tavini. “They are just moved. My job is to bring all the hard work of artists, producers and engineers together and create a platform for songs to shine. It’s the perfect job for me.”

About this Interview:

WCA #153 features UK Mastering engineer Katie Tavini ( https://www.katietavini.co.uk/ ). Katie recently wrote a what I think is a great opinion piece for Audio Media International ( https://goo.gl/XaovbN) about supporting your fellow engineers, your peers etc.. Instead of casting judgement over the gear they use and instead judge them based on the work they do. After reading that article I had a look at Katie’s website sent an email and invited her on the show. We chatted a couple of days ago about mastering of course, clients, money, health and marketing. Enjoy! -Matt

Show notes and links:

 

WCA #152 with Horacio Bolz

WCA #152 with Horacio Bolz

Horacio Bolz  is an engineer/producer from  Montevideo, Uruguay. By the age of 8 he was recording for fun and playing guitar and drums. While his life plan was originally to become a commercial airline pilot, it wasn’t until  later he realized that music, producing and engineering was what I wanted to do in life. So by the age of 18 he moved to the UK to follow that dream. Horacio  started his Production & Sound Engineering studies at Alchemea Collage in London. Once there he began to work for Phil Manzanera and Javier Weyler as an assistant engineer. During this period he recorded part of Phil’s last two solo albums (The Sound of Blue & Corroncho 2).

In 2012 Horacio returned to Uruguay where he started working as head engineer at Vivace Music. There, he recorded and mixed songs for most of the best bands in the country. Meanwhile he started doing live related work as a Monitor Engineer for Uruguayan bands. 2013 was the year in which Horacio  started his band The Islingtons. They released “1 1 2 3 5”, their  first studio album which was nominated for “Best New Band” at the Graffiti Awards. Since 2015 Horacio has been working as a freelance engineer, producer and musician. He owns (with his business partner Christian Eichin) a software development company in which they develop a free app called “Wavejam”. A collaborative multi-track recorder for iOS devices. Horacio also owns Vincent, a Creative Audio & Film production company based in Montevideo, Uruguay.

About this Interview:

Horacio talks with me about his early plan to become a commercial airline pilot, his work with Phil Manzanara, import taxes in Uruguay and how that affects his ability to buy equipment, as well his ability to make a living and incorporate audio into his life even when faced limitations. -Matt

Show notes and links:

WCA #151 with David Glasser

WCA #151 with David Glasser

Mastering engineer David Glasser  has over 35 years of experience  in audio engineering and has mastered thousands of records, including more than 80 GRAMMY nominees. A three-time nominee himself, he has earned two GRAMMY awards for mastering and restoration of the culturally significant  Anthology of American Folk Music (1997) and Screamin’ and Hollerin’ the Blues: The Worlds of Charley Patton (2002). David began his audio career with the Boston Symphony, followed by eight years of recording and production for NPR. He founded Airshow in 1983 and shifted to full-time mastering in 1990 with a modest studio in Springfield, VA. Expanding the company to Boulder, Colorado in 1997, David grew Airshow into one of the largest mastering facilities in the country. In 2016, David built a new facility where he continues to enjoy the daily variety of a busy mastering practice.

About this Interview:

David talks with me about his early days at NPR, recording live shows, transitioning into mastering and being a volunteer fire fighter! Enjoy! – Matt

Show notes and links:

Airshow Mastering In Colorado

Working Class Audio #151 with David Glasser
Working Class Audio #151 with David Glasser
Working Class Audio #151 with David Glasser

WCA #150 with Jim Homes

WCA #150 with Jim Homes

Jim Homes is a producer /engineer and one half of the production team known as Boe Weaver who have worked with artists including Champs, Whyte Horses, Wolfpeople, Archie Bronson Outfit and Rhys Lewis. Jim is our guest today since according to him he is the chatty one and brother Rob is the quiet one. Jim and Rob parlayed their 90’s era band’s minor success into a production  career by making some very good decisions  about gear and money early on. Their studio is located on the Isle of Wight South of London on property owned by the Crown where they rent a 3 story water tower to make records in.  Raising families and careers, the brothers have taken what some would see as a disadvantage (being isolated away from London) into an advantage by bringing artists to a truly magical place away from distraction to focus purely on music.

About this Interview:

Jim chats with me about living and working on the Isle of Wight with brother Rob, raising a family, working 9-5, working below a giant water tank and being at peace with his surroundings.

Show notes and links:

WCA #149 with Dom Morley

WCA #149 with Dom Morley

Dom Morley is a Grammy Award winning producer and mixer based in his own Oxfordshire (UK) studio.
Dom engineered  Amy Winehouse’s number 1 “Back To Black” album, Mark Ronson’s “Version” and “Record Collection”, Richard Ashcroft’s ‘These People’ and “Keys’ To The World’, the Grinderman (Nick Cave) debut album and singles for Adele, Morrissey & Estelle amongst others. Some recent mixes include Sting’s 5.1 “Live at Durham Cathedral”, Solomon Grey’s debut album, Mull Historical Society’s ‘Dear Satellite’ & ‘City Awakenings’ (both of which Dom also produced) ‘Colin MacIntyre’s “The Water”, the Million Dollar Quartet OCR, and the soundtrack for the upcoming British film ‘Gozo