Working Class Audio

Nashville producer Mitch Dane has managed to cross the lines into almost every genre In his 20+ years of production/engineering experience. Though most of his work can be heard on Rock, Roots/Rock and Singer/Songwriter records, Mitch continues to work fearlessly in other styles like Bluegrass/Americana. In his own words: “I like to collect the best aspects of every genre of music and bring them together in hybrid productions.” His desire to grow and to learn is constant, making every project he touches relevant and refreshing. This personal philosophy has worked well, considering Mitch’s fingerprints mark over 200 records, four of which are Grammy nominees.    •    Grammy award for his engineering.    •    ASCAP award for his songwriting.    •    Over 25 years of production/engineering experience.    •    Owns a full production/recording studio in Berry Hill called Sputnik Sound with his partner, Vance Powell. Matt and Mitch talk about how an early childhood accident would set the tone and approach for his future career , raw natural tracks vs overly manicured ones and Mitch’s advice on studio ownership. Enjoy. www.mitchdane.comwww.sputniksound.comhttps://twitter.com/mitchdane

Tremaine Williams (AKA: “Six7”) was born and raised in Raleigh, North Carolina. He began his musical journey by taking piano & drum lessons while in elementary school, as well as becoming a classically trained singer in the Raleigh Boychoir. He grew up playing in church but was also heavily influenced by R&B. He began to dabble in music production in high school as a hobby. After lending his production works to emerging singers in North Carolina, Tremaine enrolled at Full Sail University in 2003.Upon graduating in October 2004 with his Associate of Science degree in Recording Arts, Tremaine achieved one of his many career goals, as he received an internship at Hidden Beach Recordings. His career catapulted when he moved to Los Angeles, California and became a standout intern at the label from November 2004 to June 2005. Tremaine achieved another benchmark in his career when he joined the Recording Academy as a voting member at age 21 in December 2005. After a short stint with producer JR Hutson, Tremaine left to start his own music production company by the name of Six7 Music, rightfully named by the fact that he is 6 feet 7 inches tall, in July 2006.In 2008, Tremaine engineered a performance for The Time featuring Rihanna at the 50th Annual GRAMMY Awards, which led him to his position as engineer/programmer with the legendary Jimmy Jam and Terry Lewis at FlyteTyme Productions for 3 and a half years. He has engineered one GRAMMY award winning album and 6 GRAMMY Nominated albums. Tremaine is credited on songs by powerhouse artists such as Chaka Khan, El Debarge, Usher, Janet Jackson, 50 Cent, Jill Scott, Ledisi, Keyshia Cole and Ruben Studdard which is nothing short of amazing for his 11 years in the music industry.In 2012 Tremaine was elected to the Recording Academy’s Los Angeles Chapter Board of Governors and as of 2015 now serves as Chair of the Membership Committee. As one of the youngest members ever elected, he hopes to make a difference and proudly represent the next generation of music makers.Aside from albums, he has moved into the TV/Film world. His work can be seen and heard on the hit showEmpire, BET Sunday Best, Apollo Live, ComicView, Keeping up With The Kardashians, Real World and Bad Girls Club. He also scored his first feature film, “The Last Fall” which airs regularly on BET.Most recently Tremaine has been on the road with Mariah Carey for “The Elusive Chanteuse Show” Tour,  “All I Want For Christmas is You” Special in New York at the legendary Beacon Theater and “#1 to Infinity” at Caesars Palace in Las Vegas.With the talent and desire to achieve that Tremaine ultimately possesses, there is no doubt that he will be a major force in the music industry for many years to come…Matt and Tremaine discuss his journey from North Carolina to California as well hustling, staying focused and being present.

John Schimpf got his start in the music industry working in clubs and theatres as a production manager and sound engineer, and working as a recording engineer for the University he was attending while pursuing a classical music degree. As a student he built what became the technological backbone for a music industry program developed at that University. In 2001, he went on to become an engineer and crew chief with one of the largest live sound companies in California where he began working with and learning about large scale music productions in detail. In 2002 he took a job as a studio manager in Stockton, CA where he began recording and producing projects in many genres while learning the critical balance between technician and artist. Through that business John was asked to begin managing several high-profile artists while on tour. That experience opened the door to continue touring for the next 10 years, working with management groups from New York and LA. His lean and pragmatic style allowed him to become a valuable member of many touring groups, saving artists money while providing unprecedented consistency within the organizations he served. John has toured in over 20 countries with a diverse set of artists within many major performance venues around the world. Throughout his years of touring he has continued to actively work in the studio, recording and producing many different projects. In 2012 John took a position as the general manager of the newly built 25th Street Recording, a world-class recording facility in the heart of Oakland, CA. He oversees all aspects of the business including its staff, client acquisition, planning and technical direction, where his regular client base includes Grammy winning and multi-platinum selling artists, producers and engineers, as well as new talent from the greater Bay Area and Los Angeles. John continues to immerse himself in a wide range of media and production projects around the globe continually acting as a media producer and artist manager.John joins Matt at WCA headquarters to discuss John’s thought process when it comes to running a studio. Studio managers should pay attention.

Mike Kalajian is the son of an audio technician/audiophile who was exposed to music and recording equipment at a very early age through family including his Uncle’s home recording setup  which fascinated Mike and started to draw him in to the audio experience. Mike’s parents say his first word was actually “speaker” and at  9 years old was given his first guitar along with a 1/4 inch reel to reel . Mike wasted no time and immediately started writing and recording his own music. All of this took him to the next step in audio indoctrination, the building of his first basement “studio” in junior high where he and a friend started recording fellow student musicians for $20/song on a cassette 4-track. After high school, attendance at Full Sail followed. 20+ years later, Mike has recorded over a hundred albums and Ep’s for other artists, toured with his own band, and mastered countless recordings. Of all the facets of engineering he found mastering to be the most rewarding. I talk with Mike Kalajian (pronounced Kalasion) about his background, his thriving mastering business Rogue Planet Mastering as well as his workflow. Mike is a really nice guy who is passionate about what he does and I found it a pleasure speaking with him. Enjoy. -Matt

Finding detailed information on Producer/Engineer/Mixer Niko Bolas is a challenge. Niko is not a publicity hound and generally avoids big star-studded events. He’s a man that stays focused on the work in front of him and he puts his all into it. Looking at his discography you’ll notice a couple of things, repeat clients such as Neil Young, Melissa Etheridge, Robert Cray, and the late Warren Zevon for example. The other thing you’ll notice is the large number of records he has worked on coupled with the fact that he’s not a household name except to those in the know. He’s passionate about what he does and takes it seriously. We discuss that passion as well as Niko’s work style. Richard Dodd makes an appearance during the interview which adds a bit of laughter to the situation. You’ll dig it. Enjoy -MattPhoto Credit: Robert Cabral

What can you say about Al Schmitt that has not been said? The man truly is a legend and a complete professional.  He has scored a pile of Grammy wins and nominations over the years, recorded and mixed more than 150 gold and platinum albums plus his credit list includes Henry Mancini, Sam Cooke, Frank Sinatra, Ray Charles, Sammy Davis, Jr., Natalie Cole, Thelonious Monk, Elvis Presley, Madonna, Michael Jackson, Paul McCartney, to name just a few.Steve Genewick has been Al Schmitt’s assistant for the last 15 years working with artists such as Diana Krall, Chris Botti, Gladys Knight, Neil Young, George Benson, Quincy Jones, Burt Bacharach, and Paul McCartney. Steve is a three-time GRAMMY® nominated recording engineer with over twenty-five years of experience, both as a studio and live recording engineer. Steve has worked primarily out of Capitol Studios as a staff engineer since 1994. When not at Capitol, Steve can be found working at any number of major recording studios in Los Angeles or mixing at his home studio.My conversation with Al and Steve revolves mainly around their new video coming out called ” The Art of Recording a Big Band“. The seminar-turned film follows Al and Steve as they teach a group of people their methods for recording a big band out of Capital Studios.

Magnus Lindberg is a freelance engineer based in Stockholm, Sweden. Despite his young age of 35 he has already been an audio professional for 14 years, working with a wide range of independent bands and artists from all over the world.Starting out at a young age with various intern ships, most noticeable the one at Sound City Studios, LA he then found himself a part of the production team at Tonteknik Recording, under which roof he stayed for about 8 years until moving to Stockholm and becoming completely solo. Although he has been doing many projects in studios in London, Paris etc he is now a co-owner of a brand new facility in central Stockholm in which he conducts his mixing and mastering work which nowadays takes up most of his time. While not doing engineering he also play live drums (and does studio engineering) in Cult of Luna, a well established band in the alternative rock/metal scene.Matt talks with Magnus about Stockholm, his business practice, building a new studio from the ground up and the gear he uses to do his job.Website: www.magnuslindberg.comFacebook: www.facecbook.com/magnuslindbergproductionsTwitter: mlprodStudio: www.redmount.studioBand: www.cultofluna.com

John Paterno is an LA-based audio pro. He has worked with a wide range of artists, including Robbie Williams, Soraya, Badly Drawn Boy, Lustra, The Thrills, Tim McGraw, Robben Ford, Eros Ramazzotti, and The Steve Gadd Band in his 25+ years in the music business.John moved to Los Angeles two weeks after graduating from the University of Miami’s Music Engineering program, and quickly gained footing as a ‘freelance assistant’ until he was offered a position at Sunset Sound/Sound Factory as a staff engineer/assistant. It was at Sound Factory where he ended up on a session with Tchad Blake and Mitchell Froom, and was for the next several years involved in many of their seminal records — projects by Los Lobos, Suzanne Vega, American Music Club, and the Latin Playboys, among many others.John’s first projects as an engineer include Ted Hawkins’ ‘The Next Hundred Years’, that dog’s ‘Retreat From the Sun’, and co-producing the Los Lobos score for the film ‘Feeling Minnesota’. From there he worked with a range of producers including Mitchell Froom, Joe Chiccarelli, Byron Gallimore, and Stephen Duffy.In 2004 he won a Latin Grammy for his work on the ‘Soraya’ record.John has also produced or co-produced projects for Mitchell Froom, Lustra, Robbie Williams, The Lilac Time, The Black Molly’s, and many other artists.In addition to producing and mixing projects, John has also: written songs with new artists; composed for TV and film; written articles for Tape Op magazine and the Universal Audio site; and has done instructional videos on mixing with PureMix.Website:  www.musicdafoz.comInstagram: paternodafozTwitter: @paternodafoz

Matt Wright grew up in an extended musical family, of both musicians and aficionados. Every family gets together involved extended periods of both playing music and arguing about pop records, which strongly influenced his relationship with music: a) He’s a lifelong musician because of it, b) He was raised listening to the canon of great pop records, and c) He was surrounded by people who thought that pop music and record albums were important. They were more than just a consumer product for teenagers to buy and eventually throw away. A great pop record was a work of art that was worth arguing about and that you could have an ongoing relationship with.Matt toyed around with cassette recorders when he was young (My First Sony, anyone?), but Matt was never one to get too excited by the technology itself (aside from a new Walkman or CD player being a cool toy). Matt had no interest in the Sound Crew when I was in high school – mixers, speakers, amplifiers (other than the guitar kind) all seemed rather dull to him. It was only after Matt had his first multitrack experience, watching a couple of friends use Cakewalk Pro Audio 9 to build a complete arrangement of a song from just a couple of guitar riffs that he got excited about recording technology. Something clicked for him when he realized that not only could he learn to make music recordings that sounded more like real records and less like My First Sony, but that he could also use the technology of recording to expand what he could do creatively with music.Today, Matt’s interest in and philosophy for record production and engineering are still driven by the principles discovered in these early moments. Matt believes in striving for exceptional quality at all times – in arrangement, in performance, and in sound. He believes the technology should serve the record-making process in the most transparent way possible, never dictate it. And he believes that a record album is an art form in its own right, not just a translation of live musical performance and that making a great record is something worth pursuing for its own artistic merits.Matt and Matt talk about his transition from intern to chief engineer at Prairie Sun Recording, being a new dad, and his absence of gear lust.Read more about Matt at www.mattwrightsound.comWCA #067 also features part 3 of a series of discussions on acoustics with Realtraps general manager James Lindenschmidt!

Graham Hick has been an audio professional for the past 17 years. He is an amateur musician who holds a BA in music recording from Columbia College. He has written for Tape Op magazine and been a featured speaker and panelist at their professional conferences, taught audio production at Columbia College for five years, worked in jingle studios, voice studios, post-production studios, and public radio. He has also done some live sound and even did a stint in Hollywood where one of the sound editing crews he was on was nominated for an Oscar in 2009 (Transformers – Revenge of the Fallen). Currently working at Minnesota Public Radio as a Master Control Engineer, he is able to use all of the skills and knowledge gained in the field throughout his entire career. Now wearing bifocals and taking care of a 12-year-old cat Graham lives a quiet, happy and modest life in Minneapolis. His very brief IMDB film credits page can be viewed at http://www.imdb.com/name/nm3476550/