our video guys (vidiots, I often call them) just posted the long-form video we did for the local sheriff’s office. shooting this thing was awesome, although I’d prefer to never be that close to that many angry dogs, bombs, and guns again.
the civil wars — barton hollow
bon iver — bon iver
foo fighters — wasting light
mutemath — odd soul
death cab for cutie — codes and keys
thrice — major/minor
mat kearney — young love
florence + the machine — ceremonials
jay z/kanye west — watch the throne
m83 — hurry up we’re dreaming
I am so proud to have had the opportunity to track this record. To date, I can say this is the best-sounding record I’ve had the pleasure to engineer. It was mixed fantastically by Scott Faris and I hope to work with producer Brian McRae again.
iTunes link: http://itunes.apple.com/us/album/fish-bowl/id488776532
good & good for you: HIS + HERS; The Hawk In Paris -
“The Hawk In Paris wants to know if you will go to the dance with them.
Check ‘yes’ or ‘no.’”So says the bio on their Facebook page, and I can think of no better way to introduce this album. The Hawk In Paris have brought us a disarmingly accessible record that will draw you…
yes!
i recently produced an EP for my friend Brittany Larsen. check her out! she does acoustic hip hop. i can’t wait to start on her full-length.
sometimes people call your studio and ask things like, “can you take music off a cd and put it on another cd?”
and you have to say “yes ma’am, we are a professional recording studio and we have the technology to accomplish what you’re asking, but for an hourly rate.”
#lubbock #patience
i recently finished working on a record that wasn’t very much fun to work on. sometimes you have to work with music that you wouldn’t listen to otherwise; i’m fine with that. this project was beyond that. suffice it to say, my job was to salvage, polish, and mask. and then somehow end up with a professional, competitive product.
long story short, i worked my rear end off editing, re-editing, tuning, quantizing, and re-re-editing. i’m talking twelve-hour days of sample replacement, splicing, comping, and re-amping. i tried every trick i know to make some of these performances passable.
when the client came in to listen to mixes and make notes, i was nervous but she cried and said “it’s perfect. don’t change a single thing.” then we started laughing a lot and she hugged me — i mean she gave me a serious, full-on, mother-hug — and i knew that i would be doing this the rest of my life.
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