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Category: WCA Podcast

WCA #007 with Vance Powell

Working Class Audio with Vance Powell

WCA #007 with Vance Powell

Vance Powell,  who has worked with Jack White, Red Fang, and Buddy Guy to name just a few is featured on Session #007. Vance is outspoken and takes a no-bullshit approach to not only his work but this interview.  We talk technique including specifics of his analog workflow, business,  including managers plus a bit of criticism of the old guard of the music industry.  I love talking with Vance. I always learn something new from him and am proud to call him my friend.  Enjoy!

Vance on Twitter:

Vance’s studio with engineer Mitch Dane:

WCA #006 with Robert L. Smith


WCA with Robert L. Smith

WCA #006 with Robert L. Smith

Robert L. Smith is an Oscar winning,  Grammy and Emmy nominated Producer/Engineer/Mixer based in New York City. After 25+ years of working with the biggest names in music, his résumé reads like a who’s who of modern pop music. Lady Gaga, Michael Jackson,  Aerosmith, David Byrne and U2 are just a tiny list of those on his discography. Robert is passionate and focused about what he does and opens up to us about his thoughts and practices on the business end of what we do. Check out Robert’s web site at

WCA #005 with John Cuniberti

Working Class Audio with John Cuniberti

WCA #005 with John Cuniberti

John Cuniberti is based in the Bay Area.  He produces, engineers, mixes and masters records for many  artists including most notably Joe Satriani, Sammy Hagar, The Dead Kennedys, and Chicken Foot. John is known for bringing the concept and name ReAmping into the main stream of recording with his ReAmp box he created and sold on his own for many years, but eventually sold the name and circuit patent to Radial Engineering. John is a veteran of the Bay Area recording world, who has spent most of his adult life in recording studios . John added mastering to his list of skills many years ago while working at The Plant in Sausalito, California and  currently mixes and masters from his home for artists all over the world . For more information on John please visit his website

WCA #004 with David Wheeler

Working Class Audio with David Wheeler

WCA #004 with David Wheeler

David Wheeler is a recording engineer based in Las Cruces, New Mexico. Las Cruces is located north of El Paso, Texas, and Ciudad Juarez, Mexico. David talks about the pros and cons of being one of the very few recording people in Las Cruces who do it on a pro-level and also talks about how the changes to the environment and business world affect the world of recording in the southern part of New Mexico. On a personal note, David and I  went to High School together as did our moms! Before David got into recording he used to play in a band called Obsidian with our High School friend and pro audio superstar Colin McDowell of McDSP plug-ins. Our discussion delves into location sound towards the end.  I have included an Amazon link to the book on the topic by Ric Viers called the “Location Sound Bible”. We mentioned it in the conversation but for timing reasons, I edited that part of the conversation out. The link is below. Enjoy!

Links mentioned in the show:,, Studio 603 (David’s studio in Las Cruces)

WCA #003 with Hillary Johnson

Working CLass Audio with Hilary Johnson

WCA #003 with Hillary Johnson 

Happy to  present WCA session #003 with New York recording engineer Hillary Johnson. Check Hillary’s site out at

Hillary has worked with The Prids, Bell Hollow, Michael Gira (Swans, Angels Of Light), The Secret History, Jeff Buckley, The Misfits, Jennifer Kimball, Rufus Wainwright, The Ramones, Bishop Allen, Project Jenny, Project Jan, Nile Rodgers, Vernon Reid, Stereojax, D Generation/Jesse Malin and Umbrella Brigade. She has also worked with producers such as Lenny Kaye, Henry Rollins, Genya Ravan, and Daniel Rey.

I met Hillary through the original Tape Op conference which of course is now the amazing Pot Luck Audio conference. of which we both have been panelists and as a result, friends and peers to one another.

WCA #001 with Matt Boudreau

Working Class Audio with Matt Boudreau

WCA #001 – with Matt Boudreau

I am very happy to announce the Working Class Audio Podcast Session #001.

WCA  #001 is an introduction to Working Class Audio with host Matt Boudreau. Get the low down on what to expect in upcoming sessions. Includes intro/outro music by our friend Cliff Truesdell and voice intro by our friend Chuck J Smith.  I have started to schedule interviews with engineers working in the freelance trenches including Laura Dean and Hillary Johnson ( Be sure to subscribe to stay informed about upcoming sessions. Enjoy!

An update on the WCA Podcast.

SM7BThe Working Class Audio Podcast is coming together!  I was needing music for the intro and outro and had to look no further than my friend Cliff Truesdell. Cliff is a fantastic guitar player/producer/engineer and author of “Mastering Digital Audio Production: The Professional Music Workflow with Mac OS X” as well as “Introducing Reason 4” . Cliff sent me some music along with the following license agreement. Pay close attention music law students!

At some point this may become a complete song on a record with ASCAP publishing and all that.  So, for your legal purposes:

“I hereby grant Matt Boudreau all rights to use of the song “Bruises” for his podcast “Working Class Audio” from now until the end of the known universe without any expectation of financial renumeration. However, should I find myself in the Bay Area in near or distant future I would be amenable to payment of not more than one (1) burrito at the taqueria of my choosing. I would also expect that Mr. Boudreau pay for chips and if indicated on the menu as requiring further financial compensation, salsa.  I will not, however, require a beverage.

-Cliff Truesdell Portland, OR 9/4/2014

Now that was a deal I think I got the better end of. Thanks Cliff. Be sure to also check out Cliff’s band Black Furies on iTunes.

Now with regards to the recording of the podcast I have to sing the praises of the mighty Shure SM7B. I gotta say this mic really is one I would never sell. It does me justice every time. Many people don’t like the sound of their own voice but with the SM7 I loving it. Here’s a link to Amazon for the SM7 if you need one. Full disclosure, WCA get’s a cut of the sale from Amazon if you buy one which is good since it helps pay for the hosting! I will of course post when the podcast is ready. Stay tuned!


Making financial matters your new “Super Power”.

First off I want to say welcome to my new subscribers. I’m around if you have questions or requests. Feel free to reach out; just not in a stalker kind of way! 🙂 Contact me at ( matt at

Identify your super power or the lack of.

super powersWhen I ended my studio owner run at Broken Radio I was in a position that required reinventing my audio world and I needed  serious inspiration. I also needed inspiration to address the financial mistakes I had made running the studio and inspiration to organize my life that I had been  living with blinders on since I was so focused on studio survival. Let’s address the money.

I think all people have what I would call “super powers” of some sort. Some people are good with relationships, some are good at cooking and some are good with money; I traditionally was not one of those people good at money! My habit was to always get a little in the bank and spend it thinking that since I had a little extra it was ok to spend; not a wise plan! The work would dry up or the clients would want to do a payment plan and cash flow is affected. Next thing you know the expenses would become late, bounced checks, fees, anxiety; avoiding phone calls from those wanting to get that credit card payment. That was how I handled things while trying to run a commercial studio which is a horrible way to run a business and is part of the reason I am no longer a studio owner. The irony in the name Broken Radio did not slip past me either.  I came across this guy named Dave Ramsey who was a financial self-help kinda guy. I listened to his podcast and was amazed at the stories people told about paying off debt using methods Dave prescribed. Dave had a little bit of a Christian vibe going on. I don’t have a problem with Christians, I’m just not a religious person.  I’m a holiday Catholic at best  so I was a little suspicious at first;  but after a while I just thought “Who cares if this guy drops bible verses in his show? I need to get my act together!” Part of Dave’s methods include setting aside money in an emergency fund. $1000 was the prescribed amount. He argued that it is inevitable that something could happen that would cause you to endure an expense that this fund would cover and that it was better to use that than to charge the expense on a credit card. Long story short I followed that idea, saved $1000 in a fund and didn’t touch it. Unexpectedly one summer my car ended up needing four brand new tires due to worn out front tire (damn 4 wheel drive cars!) . $600 was the bill. I can’t tell you the relief I felt knowing I had the money ready to go that covered that unforeseen issue; plus, it didn’t interrupt my cash flow! Of course once you spend it you need to put back what you took even if that takes another month or two. That might all seem like common sense to many of you, but to me it was a moment I realized that i had to really dig deeper and really focus on the money. I strongly encourage you to go check out Dave’s  site if you do not posses the money super power. Start with the  podcast and work your way over to the site.  Dave’s series of steps will help to set you straight. Dave’s podcast helped me get a plan together to deal with the studio debt but I was also in need of a real method of tracking my money.

Tracking  (money not instruments).

Part of my battle with money  in the past was paper based bank  statements coming in and getting lost in the shuffle of life and business. When I  actually sat down with the statements (the ones I could find) and the accounting program I loathed downloading data from the bank, reconciling with the statements and honestly hating the whole process. My lack of enthusiasm stemmed from my bad money management skills and what seemed to me like a tedious  method for tracking money. That was while running a business. One again, not a good idea and not the best attitude. These days post studio I’m using for the tracking. is an excellent and free way to take all of your accounts/assets and place them in a location that you can track them and which works on my phone and from a browser. If you suck at tracking where your money is going this is for you. I can see charts of where I’m spending and on what. The site has been awesome and recently was instrumental in identifying a bit of fraud on my checking account.

That’s all for now. Thanks for reading! Until next post.



New headphones!

Audio Technica ATH-M40XAudio Technica ATH-M40X

I was in Tucson over the summer. I always go take part in the Potluck Audio Conference that my buddy Craig Schumacher puts on. It’s a great hang full of good information by other audio folks and musicians. I strongly urge all of you to go next year! I stopped by the Audio Technica booth to check out some headphones while I was there. They sell a hell of a lot of headphones these days I learned! WIth the success of Beats by Dre, they have come up with a competitor that is winning many people over called the ATH-M50x. They cost $239.00 list and Amazon is selling them for $169.00. They are cool but I did find the low-end to be too exaggerated for me plus I didn’t want to spend that much. In keeping with my goals you’ll read about in further posts, I found the lower priced ATH-M40x that lists for $139.00 and sell for $99.00  at Amazon not only priced better, but they also sound way more balanced to me. The midrange was clear and the bass didn’t sound bloated to me. These were headphones I could feel comfortable using as a reference when I mix. Super comfortable and being that they are closed ear means that I could listen to music around others and not disturb.  Long story short,  I ordered  a pair. Cannot wait to get them. I’ll report back with my final thoughts.

Taking a general look back.

Just thinking back to my early recording experiences and where I’m at now. I’ll pass over some of the drama so as not to go down a rabbit hole. My early exposure to recording came from cassette recorder experiments with blank and commercial cassettes. Multitrack recording did not enter my consciousness until I was high school age. By that time I had played drums for many years. I had a job and was saving up to buy a car. I almost sabotaged that purchase of a car by buying a Fostex multitrack set up that was considered to be rather inferior to 2 inch 24 track. On the advice of our local recording guru I held back, bought the car and continued to play drums. Fast forward to 1994. I had moved from New Mexico to California (San Francisco) and was on my second band and second record label deal. I had taken part in the record making process at a time when the budgets were six figures, tape was the primary medium and the Internet had not even begun to affect our lives. That same year a band I really enjoyed called Spackle approached me to produce their record. I scrounged together a couple of ADATS (new at the time) a Mackie board and some borrowed microphones we recorded at a rehearsal facility that used to be called Bay Area Rehearsal Studios or BARS. Overdubs and mixing were done at Studio 684 in San Francisco. 684 had been previously known as Sound and Vision and run by Michael Melinda and Neal Breitbarth. Michael and Neal had played a role in the early recording development of one my bands, The Sextants. The studio had changed ownership to Buddy Saleman, another engineer and early mentor to me. I mixed the record on a small Trident board with minimal outboard gear. Studio 684 became my main recording home. I recorded many bands there and met another mentor and friend Jerry Stucker. In 1998 I decided to take the plunge into the new world of Pro Tools; expensive as hell and capable at the time of only 16 bit in 44.1 or 48k. It was known as the Pro Tools 3 system. I later “upgraded” to a Pro Tools Mix Plus system. (Bigger, better faster, more…. expensive.). In 2000 I moved to a shared co-op studio in Emeryville with engineers Lisa Richmond and Josh Roberts. I met Josh a few years back when he was the tour manager and FOH guy for my band Seven Day Diary. Eventually Lisa moved and Josh and I took over the studio. Another Pro Tools upgrade to PTHD and we had a nice little place. Life at this little studio in Emeryville was pretty great. The overhead was low and the gear was appropriate.

The Emeryville studio.

A highlight and strange scenario was recording what would be The Samples last record, “Rehearsing for Life” in 2005. Katrina had hit New Orleans during the making of the record. The TV was on a bit so that between overdubs we could check out the news and stare in awe at the damage and bitch about Bush’s weak ass response. In 2007 I got an opportunity to take over the former Coast Recorders Studio in San Francisco and share a building with my mastering engineer friend Michael Romanowski. I changed the

Live room at Broken Radio.

name to Broken Radio Studios (We’ll discuss that later) and I opened in June of 2007. I then moved out December 31st, 2011. I couldn’t have picked a worse time to open a big studio. The economy was in the toilet. I didn’t pay attention, I just kept up a good attitude and proceeded to spend thousands redoing the control room and buying up more gear. Life became quite stressful. My second child was born in

Keith Urban and Justin Niebank stopping in a for a day of tracking for an iTunes exclusive.

June of 2008. I had 3 credit cards maxed out and very little business on top of a large amount of rent and bills. I had basically jumped into the deep end and was unable to leave the pool. I had to stay in and keep my head above the water. I took almost anything that came in the door. The positive side was that I really upped my recording game. The lease was coming up for renewal in a year. I came to Michael and let him know I would not be able to handle it any longer and he graciously helped me get off of the lease with the landlord. I was free; it was time to get out of the pool. The sadness about the situation I had put myself into had passed long before that point. After I signed off the lease, I was so anxious to go that I felt like I had given notice at a job and couldn’t wait to leave the building. January 1st, 2012 I woke up relieved not to be a studio owner. I had to reinvent and reconfigure my audio world. I made the decision to focus on mixing. All this time I had mixed in studios, controlled environments. Now here I was in a suburban home trying to make it work. I started off in one bedroom in the house but eventually ended up taking over my kids’ playroom since my wife wanted to use the room I had chosen for her office. I felt guilty about taking over this room and asked my wife what to do about the boys play room; her response was “I didn’t grow up with the playroom did you?” The acoustics of the playroom we’re good from the start due to the walls that were not exactly parallel, a ceiling that sloped and a general odd shape. It was a humbling situation but based on the economics of my previous studio it was the right and smart thing to do. I also needed to change my methods of tracking since I no longer had my own studio. I made friends with studios that I thought would be useful and proceeded to take my clients there then bring them home to mix. One studio in particular really was up for the task; Sharkbite Studios run by Ryan Massey in Oakland, which has a fantastic infrastructure. There is enough space to accommodate most bands, the live room is excellent for getting drum sounds I approve of and unlike my old studio situation, it has a dedicated parking lot. It’s now August of 2014. I’ve mixed at home for a couple of years and the mixes I do now blow away the mixes I was doing in studios in the past. I can attribute that to maturity and skill level but also a desire to make it work.  When I removed the preconceived notion that you had to be in a studio to mix properly, I was able to actually sit down and get work done. I ended up selling my last in Pro Tools HD rig and I put together the cheapest rig I’ve ever had that turned into the best most reliable rig I’ve had. I’ll do a separate post on that later. No board, no hybrid approach but instead 100% mixing in the box. When tracking, If I need to do simple overdubs I just have people over to the house, and if I need to track a band I take them to Sharkbite, Tiny Telephone or Studio Trilogy. I’ve gotten over the idea that working out of your home in this business is a stigma. I think I’m doing great work and really taking care of my clients. I also get to be around when I need to go pick my kids up from school or go to events for them. The money picture is looking brighter as well. More posts on that to come for sure! Thanks for reading.

Hello fellow freelance audio folks, musicians and music biz types!

Matt Boudreau/Natal DrumsMy name is Matt Boudreau and I’m a freelance audio guy. I’ve been recording, mixing and editing audio for 20 years now. I’ve also been playing drums for 32 years, ran my own studios for 12 years and for the last 8 years have been a Dad. In 2012 I left studio ownership and returned to the world of freelancing with a mountain of debt and a desire to get on the other side of it.

Without the burden of owning a studio, I’ve developed this idea of working that I started to call “Working Class Audio”. It’s nothing revolutionary but rather a set of ideas that many freelance audio folks fail to address and end up getting out of audio as a result. My goals were to continue a high standard of audio work without succumbing to gear lust and going further into debt, develop a healthy relationship with money and business, and in my case continue to be a good parent who is present for my kids. Working Class Audio is my conduit to share those experiences and ideas.

Stay tuned as Working Class Audio takes shape in the form of a blog, a podcast, video tutorials and therapist office.