WISCONSIN MUSIC PODCAST
AMPLFYING WISCONSIN MUSIC
EPISODE 134
Jordan Haversholm of Halliewood Recording Studio
WMP Linktree: https://linktr.ee/WI_Music_Podcast
https://linktr.ee/halliewoodrecordingcompany
Here are the ones that are most current and I update the most.
instagram.com/halliewoodrecordingcompany
1. **Studio Environment and Name**:
Jordan discusses his studio, Halliewood Recording Studios, and how he created a modern environment conducive to creativity.
2. **Studio Technologies**:
He talks about his exploration of new technologies like Atmos and his plans to incorporate them into his studio setup.
3. **Importance of Well-Treated Spaces**:
Jordan emphasizes the significance of having well-treated studio spaces for accurate decision-making during recording, mixing, and mastering.
4. **Immersive Experiences in Music Production**:
The discussion explores the potential for immersive experiences in music production, particularly with technologies like Atmos, and how it enhances creativity and expression.
5. **Collaboration and Community**:
In this episode, we sit down with Jordan Hoversholm, owner of Halliewood Recording Studios, for an insightful conversation about the world of audio recording and studio technology. Jordan shares his journey in establishing his studio and discusses his approach to creating a modern and conducive environment for artists. He offers valuable insights into the evolving landscape of studio technologies, including new advancements like Atmos, and emphasizes the importance of well-treated studio spaces for creativity and accurate decision-making. Whether you're an aspiring musician or a studio enthusiast, this episode provides a wealth of knowledge and perspectives on the art and science of audio recording.
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Welcome to the Wisconsin Music Podcast. This week we have Jordan Hoversham.
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Did I say that correctly? You did. Awesome.
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All right. And he is part of Haleywood Recording Studios. So,
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Jordan, welcome to the Wisconsin Music Podcast.
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Hey, thanks, man. I appreciate you having me. So let's give the listeners a
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little bit about yourselves.
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How did you get into music? And then kind of how did you get into the other
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side of the glass, so to say, in the recording studio? All right, for sure.
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Well, I was always kind of interested in music, and I played trumpet in middle
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school and high school, and then that transitioned to guitar lessons,
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and then I kind of was drawn more to rap and hip-hop and car stereos,
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and that kind of started my electronics wormhole.
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a little bit out of high school i had a buddy who was going to mmi and i didn't
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really know you know what an engineer is like well you know a lot of people
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apologies mom and dad if you listen but a lot of people just think like oh you're
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a dj like yeah yeah i'm a dj.
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So he kind of just opened my eyes to like you know the first time seeing pro
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tools and seeing and recorded audio, I was kind of, you know,
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my, my nerd senses were tingly.
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So, uh, you know, that kind of opened that up and I ended up going to MMI with a buddy of mine.
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And then I moved back up to Eau Claire and just started working with rap artists
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or singer songwriters, pretty much, you know, anything I could accommodate in a bedroom studio.
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And then I reached out to, the couple studios around and would go out there
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for, you know, if I do like drums and then come back and do overdubs.
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And, you know, the dream was always to have my own place.
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And so last summer, I, you know, kind of committed to building this place,
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got a shed in the backyard.
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And yeah, since then, I've been Tim, the tool man out here, went to YouTube
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University, trying to figure out how to soundproof and drywall and wire everything up.
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Gotcha. Gotcha. Yeah. You and I are not kind of the same boat.
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I've been doing audio engineering for since the early 2000s.
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I went to the recording workshop out in Chillicothe summer of 01 or 02.
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It's a blur by now, but I'm a high school band director by trade.
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And I also run the recording arts club at the high school.
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So we have a lot to talk about today. Cool. Cool.
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So for our listeners out there, though, they don't really care about me, but more about you.
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So what are you where are you basically located and what do you feel is like your your niche?
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All right. Well, I'm a little north of Eau Claire. I was going to say,
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man, you you nailed the last name better than any substitute teacher I've ever
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had in my life. But the, the Hollywood, I named it that because Lake Halley
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is, it's like 10 minutes north of Eau Claire.
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So I'm actually not in the Madison area, but it's totally cool,
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man. I, uh, I probably put in my, you know, bio thing that I went to Madison media Institute.
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So I'm like a 10 minutes north of Eau Claire and you know, it's,
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it's pretty accessible as far as like highway 53 and 29 are like,
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I could almost throw a rock to the intersection of that.
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So you know it's i have some people from the
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cities from wausau you know
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pretty easy to get here but yeah then
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niche wise i i'm kind of trying
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to spread my wings a little bit by opening this studio i
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will say you know i although i was limited in my
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first well i graduated in
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same here i can't remember if it was 2011 or 12 but
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in or around yeah right you
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know mostly doing vocals vocals which you know after
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I you know I want to do more but I realized that that was maybe
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a blessing in disguise if you will because vocals you
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know as you know can be one of the hardest instruments to mix because everybody
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knows what a voice sounds like like if you're doing like synths and sample drums
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is like well the weirder the better for synths but But instruments like piano
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or guitar or especially the human voice,
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like we, you know, our hearing is tuned when we're born to, you know,
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hear our mother's voice and recognize that.
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So it's hard to fake that.
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So I just, you know, when I started to do things more than rap and hip hop.
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I just always fell back on, like, if the vocal production is right,
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then, you know, the vocalist is in the center of the stage for a reason and the center of the mix.
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So as long as that's believable, I mean, I'm not saying that the drums could
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be, you know, an afterthought, but I just, that was kind of what I hung my hat on.
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And I mean, now I'd, I'd like to think I'm, you know, more well-rounded than
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I was when I first started, but I really try to hang my hat on vocal production.
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Production gotcha so yeah i mean if
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you think about it majority of the people they want to
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go when they go see a band or whatever they want to sing along
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so if there's a very bad vocal production it's
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it's it's a major turnoff for some people yeah absolutely yeah it'll make you
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hit skip real quick yeah exactly exactly being that as vocals are being your
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your main thing but you're also kind of branching out you said you're in your
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back in your backyard yes okay so So how big,
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you called it a shed, but how big is your shed?
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Well, yeah, my buddies kind of clowned me for that. They're like,
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you got to stop calling it a shed, man.
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But I got one of those kind of pre-made sheds like there, you know,
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alongside of the highway.
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There's a couple of different companies. And I was lucky enough.
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There was like three different places kind of had show lots around here.
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So I could kind of walk through, you know, look at the roofs of the ones that had been around.
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Like, well, this one's a little slanted and the door doesn't close.
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I think I'll check the next guy's.
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So the plan was I was going to lay a slab and, you know, build it.
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A structure, but we have a side lot. And I got into it a little bit with the village.
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They're like, you know, if you want to build a slab, you got to combine your lots. We're on a corner.
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So property taxes that go through the roof, blah, blah, blah.
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I'm like, so what if I got a portable shed? There's like, they're like,
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well, there's not much we can do. I was like, right. Okay. Thank you for your time. Goodbye.
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So ordered that. And that came as a shell. and
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then it's it's 16 by 32 so
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the the control room is about
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17 feet and then you know i guess i i shouldn't be pointing for our audio and
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then the other so the the control room's probably like almost two-thirds of
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it okay and then i kind of sectioned out like a little booth and then the The
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rest is, depending on semantics,
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the, you know, the live room or drum booth. Right.
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But I tried to, you know, this has been a lifelong dream.
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And I know that, like, you know, if I move in the next house I go to,
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it might be like, well, this room is the studio.
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So since I had the chance to build it the dimensions I want,
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I kind of, you know, went through the wormhole of the Sepp Meyer golden ratios.
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Ratios, tried to make sure I
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wasn't setting myself up for modes and nodes that were going to build up.
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Like, you know, with an eight foot ceiling, you don't want your room to be 12
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feet wide and 16 feet long, or there's not enough treatment in the world to save your butt.
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So I tried to do due diligence there.
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Also, when I got the place, it had this, you know, cool siding, whatever.
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And I thought like a typical house, you're going to have like your plywood
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and then you're sheathing on the outside well the outside was
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the inside it was about a third of an inch thick so
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yeah my first move was to cut out
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mold and mildew resistant drywall to fit in
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every pocket of the studs then insulate that
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and then i built every room is a room within a room so there's you know even
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though it was all framed out i left a two inch gap framed out the control room
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then same for the other ones then like the ceilings of these rest on the walls
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of individual rooms so i i should have,
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you know, there's no way to test it until there's no 50% point where you're
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like, oh, is this going to work?
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It's like, no, when I put the last door on, it's like, did I do it right? Right.
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So I'm still patiently waiting that day.
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But I mean, I've been trying to, you know, really follow it to the letter because
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just everything that I read is like, look, if you're going to skip one step,
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then just don't do it at all. Yeah.
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Yeah. It's either you go full tilt or you don't do it at all,
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basically. Exactly. Exactly.
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So for listeners that are interested in coming up to you and doing some projects,
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for example, let's say a four piece rock band wants to come in.
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What should they prepare for when they're coming to your studio?
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Um well i wanted to build uh you know
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the the place big enough to be able to
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track it live if that's you know if bands are playing out a lot and they're
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super tight and that's how they always play it i wanted to be able to accommodate
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that even though you know most times in my past it had been kind of the brick
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by brick method so the live room is big enough for like a drum set.
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And I guitar player and bass and
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I have like an ISO room kind of built in the
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booth I mean I don't want to give you too many hand signals here
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and right show you but but essentially I kind of angled off in my last third
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of the shed the booth kind of goes to an angle and then like behind that is
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where like my electrical boxes the Cisco switcher for all the ethernet and all
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that so So that's also going to double as a ISO room.
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So that way, like if in the live room, I have drums, guitar player and his amp,
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you know, we could always put the bass amp in the ISO or the guitar amp in the
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ISO and run the bass DI and then vocalist in the vocal booth and everything's,
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you know, double walls, double doors.
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So in theory, I should be able to be at full volume in here,
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drummer bashing out there and the vocalist will be none the wiser. Gotcha. Cool. Cool.
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So let's back up even a little bit more. Say a band is starting to think about
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going to a recording studio.
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What are some things, some tips you could give a group, an artist,
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you know, what have you, before they even call a studio, what do you think they
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Well, I, you know, there's, there's so many different, I guess,
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ways to approach recording nowadays.
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It's, you know, I, I'd say one is like playing to a click, whether that's even,
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just a singer songwriter or, you know, a drummer that can just be,
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if they, if you've never played to a click track before, it can be kind of jarring.
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And, you know, like I had a
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singer songwriter come in and he's kind of playing the song and
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I just tapped the tempo out and like five
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of the six songs at work but one of them it just didn't so you
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know then you got to go through and beat detective it but i just did that
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as a fail safe because i just kind of explained to him
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like if you if all we want to do
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is record guitar and vocals like that's
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fine but if you ever wanted to make these like full productions you know
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it just it gives us a little leeway there right you
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know put some scratch drums behind it and have
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a drummer come in or you know i'm capable of programming drums
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if you like how they sound we can ride with that and bring in
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a bass player but yeah i mean it just
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it can be different playing to a click it
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can be different playing in headphones so i
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mean i would even say like you know if a band's jamming
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out try to work some way that like even if it's like a little zoom interface
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and then you run some headphones phones and a splitter off that just so you're
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hearing the band and headphones as opposed to live that it you know might not
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sound like a big deal but it can be you know it can be.
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Very different and take you out of your comfort zone so if you come in here
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or to any studio you know like i can play it to a click i can play it not to
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a click i can play it without headphones i can play it with headphones that
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just kind of allows any method of of recording cool cool yeah Yeah,
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that's good advice. Yeah, definitely.
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You know, bands that I have had the pleasure of working with as well is like
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sometimes I say at least practice with a click.
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And when we get to the studio and if you feel really confident with your tempos
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and you don't want to do it with a click, but you've been practicing with it,
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you know, you guys are going to be able to do it well without it.
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If you're, you know, if you're listening to each other and you're just,
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you know, locked in because sometimes that happens.
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Yeah, yeah. No, you're absolutely right. Then it's like running with the weights
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off, you know, it just practice into the click. just tightens them up.
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Exactly, exactly. Now, what are some other things that you've experienced over
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the time of being a recording engineer that would help listeners out there that
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are looking forward to doing a recording project?
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Well, here's maybe something kind of cool. I just like to, if you just feel
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like you're kind of in a funk or I'm writing the same song over and over...
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One thing I found kind of cool is to put on, you know, either a movie they like
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or maybe a movie they've never seen and on mute.
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Right. And then just watch a scene and kind of score it, whether it be with
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just your guitar or or whatever, you know, because it'll it'll kind of get you out of your rhythms.
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Maybe. Yeah, that can kind of be a good thing to like shake things up and bring out some emotions.
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And then, you know, sometimes if you feel like you're writing the same song
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over and over and say you're, you know, writing down tempo kind of melancholy
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music is like, well, watch something happy and see what comes out.
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Or the reverse can be true, too, is like, you know, people will be like,
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well, you know, I can't write sad songs. My life's pretty good.
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It's like, well, watch a watch a movie that can tear at the heartstrings a little bit.
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It and then you can almost you know put yourself in their
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position and then you know then the emotion
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that's coming through is still you know
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authentic although it might not be yours if you're
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like feeling for them i don't know if that makes sense
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or not yeah definitely yeah yeah you get inspired by
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something that you weren't even thinking about at that moment it's
00:14:54,783 --> 00:14:57,603
just like a complete shift it's like you took a right turn
00:14:57,603 --> 00:15:00,803
instead you know going left kind of thing yeah yeah yeah absolutely
00:15:00,803 --> 00:15:03,603
so what about the listeners out there
00:15:03,603 --> 00:15:06,423
that are interested in becoming a recording engineer what
00:15:06,423 --> 00:15:11,983
kind of advice do you have for them well first of all don't you better not like
00:15:11,983 --> 00:15:18,703
money well that's almost for every musician out there too yeah no no for sure
00:15:18,703 --> 00:15:23,323
i mean i'm like being a little tongue-in-cheek yeah i know i i mean i i will
00:15:23,323 --> 00:15:25,543
say too is like you know most most engineers,
00:15:25,603 --> 00:15:29,923
I don't want to say are failed musicians because we're all still working on our albums, right?
00:15:30,043 --> 00:15:33,623
They just, we just drop them every 10 years, like Dr. J or something.
00:15:33,703 --> 00:15:35,423
They're just slightly less anticipated.
00:15:35,723 --> 00:15:40,043
But I mean, that's a really what drew me to it is like going to.
00:15:40,963 --> 00:15:46,983
Going to MMI, you know, I wanted to be the all singing, all dancing producer, play every instrument.
00:15:47,203 --> 00:15:51,703
And, you know, I had buddies in class, like when we're in production classes,
00:15:51,703 --> 00:15:57,503
classes, they'd whip up an instrumental in the class period that I'd be like,
00:15:57,583 --> 00:16:01,323
I had worked for days on my composition and it doesn't compare to that.
00:16:01,403 --> 00:16:05,743
And they're like, well, you know, my dad was in the church band and yada, blah, blah.
00:16:06,023 --> 00:16:09,603
And then when it came to studio class, it was like, Hey, Jordan, my mic isn't working.
00:16:09,703 --> 00:16:14,923
Hey, Jordan. Hey. So it just, you know, for me, it was kind of a get in where you fit in type of deal.
00:16:15,843 --> 00:16:19,243
But I, you know, I would say like.
00:16:20,421 --> 00:16:26,081
It's, it's still a creative process and I try to, you know, that's what, um,
00:16:26,261 --> 00:16:31,901
gives me my creative fulfillment is, you know, mixing and mastering and coming
00:16:31,901 --> 00:16:35,981
up with ideas and trying wild stuff that may or may not work.
00:16:35,981 --> 00:16:42,881
But, you know, I would say like you have to be down with with the nerd aspect
00:16:42,881 --> 00:16:46,001
because I don't necessarily,
00:16:46,201 --> 00:16:50,441
you know, my buddies, they think that I'm like an IT guy, too,
00:16:50,541 --> 00:16:53,041
because I, you know, got my computer up and going.
00:16:53,101 --> 00:16:57,681
It's like, no, man, I know this percentage of computers and that's to keep my
00:16:57,681 --> 00:17:00,101
pro tools running, you know.
00:17:00,101 --> 00:17:04,261
So, but, you know, that being said is like, I feel like you have to be,
00:17:04,321 --> 00:17:10,841
you know, open to at least a little bit of electronics and, you know,
00:17:10,841 --> 00:17:13,141
I, and some things more than others.
00:17:13,161 --> 00:17:16,341
Like, I'm sure some people are far better at computers than me and,
00:17:16,341 --> 00:17:21,621
and all that, but like electronics is kind of, it's cool for me to see how stuff works.
00:17:21,621 --> 00:17:26,001
So I build like a lot of DIY kits and solder up preamps because,
00:17:26,041 --> 00:17:31,241
you know, you can buy a knee pre for 700 to a thousand dollars or you can get
00:17:31,241 --> 00:17:34,681
an AML kit for 230 bucks and.
00:17:35,897 --> 00:17:42,377
So I just mean maybe be ready to embrace the inner nerd because it'll come in
00:17:42,377 --> 00:17:49,157
handy with acoustics and things that I didn't even think of or we didn't even
00:17:49,157 --> 00:17:51,097
really touch on in school.
00:17:51,277 --> 00:17:58,077
Sometimes the schooling will give you the baseline to be able to understand
00:17:58,077 --> 00:17:59,857
the YouTubes you need to watch.
00:18:01,057 --> 00:18:07,357
You know what I'm saying? Yes. It basically, yeah, you learn the language in
00:18:07,357 --> 00:18:09,917
school and then you go down your own wormholes.
00:18:10,017 --> 00:18:13,877
And then it's like when you start getting into electronics, acoustics is like
00:18:13,877 --> 00:18:15,637
those can be their own discipline.
00:18:16,017 --> 00:18:19,317
You could just focus on that and stop engineering, you know,
00:18:19,317 --> 00:18:22,297
and be an electronics repairman or an acoustician.
00:18:22,337 --> 00:18:26,257
But I just try to stay open to all that and like, don't let it scare me.
00:18:26,257 --> 00:18:29,737
And I guess, you know, to answer your question, instead of just rambling,
00:18:29,857 --> 00:18:35,077
I just want to, you know, I'd say be open to things that even,
00:18:35,137 --> 00:18:38,177
you know, you don't know they exist or you haven't tried them.
00:18:38,197 --> 00:18:42,177
So you don't know that you'd be like, well, I could never understand that.
00:18:42,297 --> 00:18:46,857
It's like, well, like, trust me, I'm not the brightest crane in the box and
00:18:46,857 --> 00:18:50,877
I still can figure out my electronics and resistors and, you know, so. Right, right.
00:18:51,337 --> 00:18:54,977
Right. Yeah. And, you know, for, you know, for me, when I was starting out,
00:18:55,017 --> 00:18:58,717
I was like, schematics was like such a foreign language to me.
00:18:58,757 --> 00:19:01,777
I was just like, I don't know if I'm ever going to understand any of this,
00:19:01,857 --> 00:19:05,057
but if you just, you know, just like anything, if we just keep working at it
00:19:05,057 --> 00:19:08,717
and every failure is a stepping stone to success, eventually you're going to
00:19:08,717 --> 00:19:09,877
get it. Yeah, absolutely.
00:19:10,177 --> 00:19:12,257
No, for sure. And it's the same with an instrument or whatever,
00:19:12,417 --> 00:19:15,597
you know, picking up a guitar for the first time, like you're not going to be
00:19:15,597 --> 00:19:18,077
shredding in a week. No, it's going to get frustrating.
00:19:18,217 --> 00:19:21,597
And it's it's funny how sometimes, you know, that stuff will mirror itself,
00:19:21,697 --> 00:19:25,517
like with guitar, if you're practicing and it seems like you're getting worse
00:19:25,517 --> 00:19:28,197
and worse and then you set it down for a week and you come back to the song
00:19:28,197 --> 00:19:29,497
and you just lace it is like.
00:19:30,657 --> 00:19:32,677
Where did that come from? And it's the same with electronics.
00:19:32,937 --> 00:19:37,377
It's like you get to a mental block and you, you know, screw up a piece that doesn't work.
00:19:37,497 --> 00:19:40,757
And then you have to go and figure out why it doesn't work. And then something
00:19:40,757 --> 00:19:46,777
will just click like, oh, and now, you know, now I've overcame that and I'm
00:19:46,777 --> 00:19:49,197
ready for the next challenge, you know?
00:19:49,497 --> 00:19:53,737
Exactly. Exactly. You know, like the other day I'm, I'm setting up a MIDI keyboard
00:19:53,737 --> 00:19:56,957
and stuff. I'm like, why, why?
00:19:57,077 --> 00:20:00,817
I mean, it's getting signal to the channel, but it's not giving me any audio.
00:20:00,917 --> 00:20:02,837
Like what's going on? It's like, all of a sudden I went, wait,
00:20:02,977 --> 00:20:05,337
click this little button, like auto monitoring.
00:20:05,497 --> 00:20:08,517
Oh, now I'm getting exactly what I'm looking for. It's like,
00:20:08,597 --> 00:20:12,357
why didn't I think of that right away? It's just, sometimes you just get that little mental block.
00:20:12,497 --> 00:20:16,197
You just overthink something and you just like, oh, you totally missed something.
00:20:16,317 --> 00:20:19,157
And then all of a sudden you remember something and like, oh,
00:20:19,157 --> 00:20:20,097
it all comes back together.
00:20:20,097 --> 00:20:23,537
Together well yeah and it'll never happen again exactly
00:20:23,537 --> 00:20:26,757
you know exactly like that's in the toolbox now yeah
00:20:26,757 --> 00:20:29,397
exactly it's like if someone gives you all the
00:20:29,397 --> 00:20:33,997
answers you're not going to learn anything and then what good is that well yeah
00:20:33,997 --> 00:20:37,957
no i mean you you hit on something right there is like a lot of people will
00:20:37,957 --> 00:20:41,637
be like hey man can you teach me how to mix i'm like sure i'll teach you how
00:20:41,637 --> 00:20:46,977
to mix mix a thousand songs yep you know what i mean it's like that and i i'm I'm,
00:20:47,057 --> 00:20:50,037
you know, I don't say it in that voice. I'm being right.
00:20:50,177 --> 00:20:54,237
Right. But it's like, there's no other way you could, you know, it's good to read books.
00:20:54,277 --> 00:21:00,337
And in building this place, I started to feel more like a construction worker than an engineer.
00:21:00,457 --> 00:21:03,177
Yeah. So the whole time I'd be listening to podcasts.
00:21:03,357 --> 00:21:07,117
I mean, yours included in recording studio rock stars and working class audio,
00:21:07,257 --> 00:21:08,817
this, that, and the other.
00:21:08,857 --> 00:21:13,477
And that kind of helped me stay connected to recording. And then,
00:21:13,517 --> 00:21:17,137
you know, you're listening to those and they're talking about this trick that
00:21:17,137 --> 00:21:22,917
they did or how they got this, you know, reverb or putting a piezo pickup on an acoustic guitar.
00:21:23,077 --> 00:21:26,897
And, you know, all that little stuff is like noted, noted, you know,
00:21:26,917 --> 00:21:28,337
it's just in the vocabulary.
00:21:28,577 --> 00:21:33,717
Right. And then you have to go and do it or else you might forget all about it. Yeah, absolutely.
00:21:34,137 --> 00:21:39,357
So another aspect of being a studio owner is the business side.
00:21:39,357 --> 00:21:43,057
What are some things about the business side you can tell people that,
00:21:43,137 --> 00:21:46,877
you know, no matter if they're a musician or looking to become,
00:21:46,937 --> 00:21:48,057
you know, a studio owner,
00:21:48,197 --> 00:21:52,837
the things that you've learned over the time of doing this that you didn't even
00:21:52,837 --> 00:21:55,117
think might be something that you needed to know?
00:21:55,917 --> 00:22:02,757
Um, yeah, I mean, just treating it like a business, I guess that I hope this
00:22:02,757 --> 00:22:06,417
answers the question, but like whether it's a band or a studio is like we all
00:22:06,417 --> 00:22:08,717
start doing it because we love it.
00:22:08,717 --> 00:22:13,657
And then in the initial stages, I mean, we all struggle with like the imposter
00:22:13,657 --> 00:22:17,637
syndrome and, you know, things like that or charging,
00:22:17,797 --> 00:22:22,177
because then a lot of people like even if initially I'm working with my friends
00:22:22,177 --> 00:22:26,337
and then you start to work with strangers, but like you're working on music,
00:22:26,437 --> 00:22:28,937
you're helping them create something that's very dear to them.
00:22:30,199 --> 00:22:35,919
Most of the people I work with end up becoming friends. So then is like money gets weird.
00:22:36,179 --> 00:22:40,119
Um, you know, with bands, I'm sure it's, it's the same type of deal.
00:22:40,199 --> 00:22:43,039
I've, you know, haven't professionally been in a band, you know,
00:22:43,039 --> 00:22:48,419
just my band days ended in high school, but like, I don't know.
00:22:48,439 --> 00:22:52,299
I, I just heard somebody kind of explain it and I'm sure I'm going to butcher
00:22:52,299 --> 00:22:57,059
it, but essentially they were saying like, if you don't charge enough,
00:22:57,179 --> 00:23:00,199
you know, or it could, because money always
00:23:00,199 --> 00:23:03,159
gets weird and man money will kill the creativity if you
00:23:03,159 --> 00:23:06,179
have that talk like i always try to have like the money
00:23:06,179 --> 00:23:08,999
talk first before somebody comes in here
00:23:08,999 --> 00:23:14,839
because i hate talking money like i hate money you know that's why i'm an engineer
00:23:14,839 --> 00:23:21,299
yeah but that can kill the creative vibe but what i had to kind of overcome
00:23:21,299 --> 00:23:25,779
is like you know somebody was just saying they're like look if you don't charge
00:23:25,779 --> 00:23:28,119
enough you're going to be out of this business business.
00:23:28,559 --> 00:23:32,799
So you, you have to, you know, not saying rake people over the cold,
00:23:32,819 --> 00:23:37,659
but you have to know your worth because if you don't charge enough and you're
00:23:37,659 --> 00:23:39,119
going to be out of business in three years,
00:23:39,179 --> 00:23:43,179
what if somebody was going to come to you in five years that was going to make
00:23:43,179 --> 00:23:48,699
like an album that changed their life or other people's lives or, you know what I mean?
00:23:48,719 --> 00:23:52,899
So it was like kind of that kind of helped me overcome the hump of like,
00:23:52,959 --> 00:23:56,819
well, if I want to be here being able to to provide a service i have to make
00:23:56,819 --> 00:24:02,319
sure that you know i'm i'm charging more than you know.
00:24:03,259 --> 00:24:06,139
More than i initially did we'll just
00:24:06,139 --> 00:24:10,499
say that because then things like taxes come in and you know wear and tear on
00:24:10,499 --> 00:24:17,199
equipment and tubes and you know it just it all adds up and that's the same
00:24:17,199 --> 00:24:20,619
with the band like you know traveling with gear i'm sure and then splitting
00:24:20,619 --> 00:24:24,839
money i'm sure that can be kind of, you know, a point of contention.
00:24:24,899 --> 00:24:29,439
So it's just like, you know, it sucks to have to look at it like a business.
00:24:29,499 --> 00:24:31,899
And sometimes that can take the fun out of it.
00:24:31,979 --> 00:24:36,119
But like, you know, knowing your worth will make sure that you're able to provide
00:24:36,119 --> 00:24:37,599
00:24:37,819 --> 00:24:41,719
Gotcha. Gotcha. So did you do like research, like call other studios in your
00:24:41,719 --> 00:24:46,119
area, see how much they charge or how did you figure out where your medium or
00:24:46,119 --> 00:24:48,219
your baseline prices we're going to start?
00:24:48,579 --> 00:24:54,279
Well, I had, when I had my, my basement studio that I affectionately called the blanket for it.
00:24:54,299 --> 00:24:56,819
Cause I just had a bunch of moving blankets around, you know,
00:24:56,859 --> 00:24:58,479
that was my sound treatment. Gotcha.
00:24:58,699 --> 00:25:02,379
I had a couple of panels up and stuff too, but I had, you know,
00:25:02,379 --> 00:25:05,979
worked with, and I still have a, you know, a good relationship with most of
00:25:05,979 --> 00:25:07,019
00:25:07,259 --> 00:25:10,739
So, you know, I kind of knew what everybody's charging and I'm,
00:25:10,739 --> 00:25:12,639
you know, not the most expensive,
00:25:12,839 --> 00:25:17,799
but I'm not the cheapest either so you do i mean exactly what you said you kind
00:25:17,799 --> 00:25:21,619
of gotta you can't price yourself out of the market either right you got to
00:25:21,619 --> 00:25:23,559
make sure the phone's still ringing but um.
00:25:24,392 --> 00:25:28,852
Yeah i mean it's it's a tough deal to kind of figure out what it's worth and
00:25:28,852 --> 00:25:34,252
then in the past couple of years with prices hiking and everything else is like
00:25:34,252 --> 00:25:38,072
you know i i had to raise prices too and then you know you got to have the conversation
00:25:38,072 --> 00:25:41,212
with people like you know i'm i'm not doing this.
00:25:41,912 --> 00:25:45,512
Just because i decided to like if if groceries
00:25:45,512 --> 00:25:49,332
double right then you know
00:25:49,332 --> 00:25:52,352
prices got to go up too i i can't i can't
00:25:52,352 --> 00:25:55,492
charge my three years ago price for a project today
00:25:55,492 --> 00:25:58,232
exactly exactly it's like is there is the
00:25:58,232 --> 00:26:01,412
bubble gonna burst eventually i mean we can't just keep hiking prices left
00:26:01,412 --> 00:26:04,052
and right you know the back end to the front end it's just
00:26:04,052 --> 00:26:07,172
gonna it's got to explode eventually like everything else
00:26:07,172 --> 00:26:10,252
well yeah they can't just keep printing more money right
00:26:10,252 --> 00:26:12,932
exactly i mean they are but i
00:26:12,932 --> 00:26:16,052
right stops yeah because eventually everybody's
00:26:16,052 --> 00:26:18,812
going to be living in a cardboard bought a box pretty soon if
00:26:18,812 --> 00:26:21,832
prices keep going up yeah no no for sure
00:26:21,832 --> 00:26:24,632
i mean i hope we're out of it and like in building this place too
00:26:24,632 --> 00:26:30,072
you know the other deal is is like i you know this place costs about a little
00:26:30,072 --> 00:26:33,932
more than i thought it was gonna yeah price has got to go up you know because
00:26:33,932 --> 00:26:39,172
i've invested in that and then you know but i do i did try to cut corners and
00:26:39,172 --> 00:26:44,532
where i could as in and DIYing the things I was able to, but,
00:26:44,652 --> 00:26:49,712
you know, I, I have a significant chunk kind of tucked away in here and I try
00:26:49,712 --> 00:26:53,432
to have like a couple of choice microphones and kind of, you know,
00:26:53,432 --> 00:26:58,052
and I might not be everybody's flavor either, but what I kind of tried to do and this,
00:26:58,152 --> 00:27:01,292
you know, a lot of studios up here and the ones that I work with,
00:27:01,332 --> 00:27:04,852
and, you know, this is, I'm not saying this in like negative connotations,
00:27:04,852 --> 00:27:08,532
but they kind of have like an, an up North cabin cabin feel.
00:27:08,752 --> 00:27:11,512
And like, if that's what somebody calls for and they're looking for,
00:27:11,632 --> 00:27:14,972
I'll give them numbers of the other studios and be like, you know,
00:27:14,992 --> 00:27:17,712
go talk to my buddy at this studio, talk to my buddy at this studio,
00:27:17,812 --> 00:27:20,812
talk to my buddy at this studio, go take a tour, check the vibe out,
00:27:20,832 --> 00:27:23,192
because that might be more suited to you.
00:27:23,212 --> 00:27:26,572
I want to do something a little more modern, which is kind of, you know.
00:27:27,633 --> 00:27:30,953
In the name of Hollywood, like the town up here is called Lake Halley.
00:27:31,073 --> 00:27:34,133
And I just kind of called it the first
00:27:34,133 --> 00:27:38,253
place we lived in. It was known affectionately known as the tank farms.
00:27:38,493 --> 00:27:41,233
And there's a bit of stigma up there, you know?
00:27:41,373 --> 00:27:46,293
And so I, I just said it, you know, I always would tell my friends when they
00:27:46,293 --> 00:27:48,633
were coming up, like, oh yeah, I moved up to Hollywood now.
00:27:48,753 --> 00:27:52,333
So then when we moved to this spot, I just, you know, I had a couple of studio
00:27:52,333 --> 00:27:55,913
names and people like, no man, man. That's, that's, that's you, that's your name.
00:27:55,993 --> 00:28:01,393
But I, I, you know, initially it's like the name is kind of to not take myself
00:28:01,393 --> 00:28:04,633
too serious, but at the same note, well,
00:28:04,953 --> 00:28:08,073
you know, I wanted to live up to the name a little bit and, you know,
00:28:08,073 --> 00:28:12,873
it, it looks pretty modern in here and you know, on my way to heaven at most.
00:28:12,973 --> 00:28:17,393
And I want to, you know, stay up on the newest trends and I, you know.
00:28:17,633 --> 00:28:22,073
Yeah. I was going to ask you about some of the new technologies coming up and
00:28:22,073 --> 00:28:25,033
how you're working with those for one of the things I was going to ask you is
00:28:25,033 --> 00:28:30,313
like things like studio or audio movers where you can do mixing over the internet
00:28:30,313 --> 00:28:34,173
with people or even recording and then and I was going to get over to Atmos
00:28:34,173 --> 00:28:36,093
and seeing if you're going to go that direction as well.
00:28:36,673 --> 00:28:42,613
Yeah I haven't I mean I've done a fair amount of research into the audio movers
00:28:42,613 --> 00:28:48,073
and Soundflower and things like that but I never ended up really doing a ton
00:28:48,073 --> 00:28:53,993
of you know the recording with no no latency or, or whatever.
00:28:54,293 --> 00:29:02,453
I don't know. I see, I put myself in a bit of a, well, I mean,
00:29:02,453 --> 00:29:05,433
you know, I was held through the pandemic. A lot of people couldn't,
00:29:05,433 --> 00:29:07,233
you know, we couldn't leave. We couldn't. Yeah.
00:29:07,813 --> 00:29:13,293
So I had kind of pieced together. I'd call, you know, my rep at Sweetwater and
00:29:13,293 --> 00:29:17,173
put together a package for people because they'd be like, okay, I need to record.
00:29:17,353 --> 00:29:19,353
It's like, well, what's your budget? What are you looking at doing?
00:29:19,453 --> 00:29:21,053
Do you need speakers? Do you just want headphones?
00:29:21,273 --> 00:29:25,293
Blah, blah, blah, blah, blah. So I ended up facilitating getting a bunch of
00:29:25,293 --> 00:29:26,773
artists around here, home studios.
00:29:27,073 --> 00:29:30,193
And now it's like, Hey man, you know, forget all that come in here now.
00:29:32,373 --> 00:29:36,053
But so instead of the audio movers route, I had almost, you know,
00:29:36,053 --> 00:29:42,173
kind of made people, you know, or help them be able to record at home.
00:29:42,233 --> 00:29:46,193
So I could just do the mixing if they, we transferred me the stem.
00:29:46,313 --> 00:29:51,593
Right. Right. And now I just kind of, I want to get in you know the ground floor
00:29:51,593 --> 00:29:58,093
things and you know have more than just like interface preamps and you know
00:29:58,093 --> 00:30:02,293
MXL mics and nothing against I'm not you know not knocking the brand in total
00:30:02,293 --> 00:30:04,893
I just mean like I wanted to have to,
00:30:05,992 --> 00:30:09,872
you know, higher quality. I wanted to have like the treatment in this room.
00:30:09,952 --> 00:30:14,732
Graham from Music City Acoustics gave me like four plans, mild to wild.
00:30:14,852 --> 00:30:18,192
And the wild plan was the whole back wall is bass traps.
00:30:18,352 --> 00:30:21,392
So I went with three of four on the crazy scale.
00:30:21,612 --> 00:30:26,312
But you know, I got the whole ceiling is clouds. I got bass traps in all four corners.
00:30:26,852 --> 00:30:32,972
There's about 16 panels around the side. So I I mean, it's a fine line between dead and tight in here.
00:30:34,352 --> 00:30:39,612
I auditioned my buddy in town that has Eau Claire Perle Audio, Zach.
00:30:40,872 --> 00:30:44,672
I found his store on Reverb, and he had like some barefoots.
00:30:44,812 --> 00:30:50,032
At the time, I had some ATC SCM20s, but I was looking at getting these PMCs.
00:30:50,652 --> 00:30:55,072
He had like three or four sets of like really nice monitors for sale.
00:30:55,112 --> 00:30:58,152
I'm like, listen, dude, I don't know who you are or how you,
00:30:58,232 --> 00:31:01,652
you know, what you're doing with all these monitors, but you let me know when's
00:31:01,652 --> 00:31:03,712
a good time to buy you a coffee. We need to have a little talk.
00:31:04,012 --> 00:31:07,032
So he, he brought his monitors over.
00:31:07,092 --> 00:31:11,812
I ordered the, these PMCs with the intention of returning them if my ATCs beat them out.
00:31:11,872 --> 00:31:18,632
So I was able to audition like four or five pairs of very nice monitors in my
00:31:18,632 --> 00:31:23,052
space, which, you know, would not be attainable usually.
00:31:23,092 --> 00:31:27,612
Like I can't go to Vintage King in, in Nashville or LA and audition them them
00:31:27,612 --> 00:31:32,432
or whatever you go to guitar center and it's like they're kind of on like a
00:31:32,432 --> 00:31:37,612
storage rack in a small glass room is like this isn't my room they don't even
00:31:37,612 --> 00:31:41,292
have all the ones i want and yeah so i mean.
00:31:42,533 --> 00:31:51,293
I just tried to get, you know, like bang for my buck as, as good of a monitoring
00:31:51,293 --> 00:31:52,333
00:31:52,393 --> 00:31:59,553
And then that kind of led me down the Atmos wormhole and I have the ceiling firing speakers set up.
00:31:59,853 --> 00:32:05,513
I'm waiting to get the full array around, but before I jump off that deep end,
00:32:05,573 --> 00:32:07,893
I got to finish me live room here.
00:32:07,953 --> 00:32:11,513
I'm drywalling right now. So the lights at the end of the tunnel,
00:32:11,513 --> 00:32:19,813
But I do plan to have Atmos fully up and running, you know, by spring, summer next year.
00:32:20,053 --> 00:32:23,473
That's something that really, you know, really interests me.
00:32:23,513 --> 00:32:24,453
I think that's super cool.
00:32:24,533 --> 00:32:28,933
And I believe in it, even though like the 5.1 didn't take off.
00:32:29,333 --> 00:32:32,613
Just, you know, I heard a couple of people talking about it and just like,
00:32:32,633 --> 00:32:36,613
like we got to listen to quad mixes in school, the dark side stuff.
00:32:36,613 --> 00:32:40,113
Stuff and it's awesome but like a lot of people unless you're an audiophile you
00:32:40,113 --> 00:32:43,413
don't even sit in one space and listen you know
00:32:43,413 --> 00:32:46,633
i mean i even find myself doing it with my you know my
00:32:46,633 --> 00:32:49,513
amazon devices you know it's like hey play this song play
00:32:49,513 --> 00:32:55,413
this podcast and i'm walking around doing dishes doing laundry right so just
00:32:55,413 --> 00:32:59,193
what's cool about the atmos is like the whole object-based thing where like
00:32:59,193 --> 00:33:04,853
you know as we know in if you have a stereo track and you're you're looking
00:33:04,853 --> 00:33:06,853
at edit in your DAW, unless Logic,
00:33:06,933 --> 00:33:09,213
I think they only like show one of the tracks.
00:33:09,313 --> 00:33:13,833
But anyways, you know, a stereo track is just two audio tracks linked to each other.
00:33:13,893 --> 00:33:18,153
The 5.1 mix is six of them. You have five speakers in your low frequency channel
00:33:18,153 --> 00:33:22,813
and there's just six waveforms. It's like this goes through this speaker, this goes through this.
00:33:23,033 --> 00:33:28,013
So the whole object based thing, that kind of sold me on it where like,
00:33:28,093 --> 00:33:33,773
you know, you can, if you have a soundbar that has three, three,
00:33:33,773 --> 00:33:35,493
you know, left, right, center.
00:33:36,053 --> 00:33:40,353
And then like, you can add two of the Sonos ones, just drop them behind you.
00:33:40,413 --> 00:33:44,033
And then as long as you let your interface know is like, well,
00:33:44,093 --> 00:33:45,333
what are we playing this through?
00:33:45,413 --> 00:33:48,813
One speaker, three speakers, how many ceiling firings, how many surrounds?
00:33:49,433 --> 00:33:55,453
It's just super cool to me. And you know, it makes me believe that that is the way of the future.
00:33:55,633 --> 00:33:59,553
And I also, you know, in my time of,
00:33:59,613 --> 00:34:02,373
you know, trying different things to see what sticks i've done a couple
00:34:02,373 --> 00:34:05,213
of short films and i'm working with a company in
00:34:05,213 --> 00:34:09,633
town now that puts out a a fair amount of shorts it's like four people together
00:34:09,633 --> 00:34:16,273
a collective and i'm gonna you know be doing all their audio and so at most
00:34:16,273 --> 00:34:20,813
is like a must when it comes to that too yeah i just figured that opened the
00:34:20,813 --> 00:34:23,613
doors and i i also just found it cool that like.
00:34:24,358 --> 00:34:29,018
You know, people, I mean, in, in bigger cities where there's a lot more Atmos
00:34:29,018 --> 00:34:32,798
rooms, people are starting to create with the idea instead of like,
00:34:32,918 --> 00:34:36,778
Hey, take my true two track mix and make it Atmos like, okay,
00:34:36,778 --> 00:34:41,918
well I'll add a longer reverb for the side and a longer, longer reverb for the rear.
00:34:42,978 --> 00:34:47,278
Right. Right. It's like, if people are creating with the idea that this is going
00:34:47,278 --> 00:34:49,938
to be immersive, I just, I think that that,
00:34:49,978 --> 00:34:55,178
you know, can be like another way for people to express themselves or create
00:34:55,178 --> 00:34:59,658
cool environments or, you know, experiences for the listener.
00:34:59,718 --> 00:35:03,498
And I'm all in. I'm so. So, yeah, we were talking about Atmos. Now.
00:35:03,918 --> 00:35:08,278
Yeah. Cause you know, like you said, you know, quad was back in like the seventies
00:35:08,278 --> 00:35:12,958
and then we had 5.1, which came out, I think in like the late eighties,
00:35:12,958 --> 00:35:13,998
00:35:14,178 --> 00:35:16,818
I'm trying to remember the dates when that started kind of. Yeah.
00:35:16,898 --> 00:35:18,398
No, that sounds about right. Yeah.
00:35:18,638 --> 00:35:22,378
And now we have this Atmos. And for listeners out there, if you're not sure
00:35:22,378 --> 00:35:25,738
what Atmos is, it's, I think it's up to nine speakers.
00:35:25,878 --> 00:35:29,658
I think it's like, what, two basses? And then you have ones above you,
00:35:29,698 --> 00:35:32,458
behind you, and in front of you, if I remember correctly how that sounds.
00:35:32,458 --> 00:35:37,258
Yeah. I mean, from my understanding, it can be like up to 128 speakers because
00:35:37,258 --> 00:35:39,038
like then Atmos mixes it.
00:35:39,058 --> 00:35:43,058
Basically, the theaters will use the same file as we would.
00:35:43,138 --> 00:35:47,298
So to mix in it, they recommend having at least because like the,
00:35:47,338 --> 00:35:51,478
you know, and I'm saying this for the people who have, you know,
00:35:51,498 --> 00:35:53,578
no, no experience or. Right.
00:35:53,798 --> 00:35:57,418
No prior knowledge. Like, yeah, you're 5.1 set up, which like,
00:35:57,498 --> 00:36:00,758
you know, a couple of my uncles had a couple of my buddies had in their basement,
00:36:00,798 --> 00:36:06,438
but nobody really used it for music because, you know, one,
00:36:06,618 --> 00:36:11,958
a lot of people don't sit still that long, you know, and like listen to an album. Right.
00:36:12,078 --> 00:36:17,478
And two, you had to buy the SACD or the DVD audio. audio. So another reason
00:36:17,478 --> 00:36:20,878
I think Atmos is going to survive is like right now, if you have iTunes or Spotify
00:36:20,878 --> 00:36:24,398
or Tidal, you can just go in and switch it to Atmos. And if you have like the.
00:36:25,258 --> 00:36:28,218
The apple earbuds the pro the newest ones yeah
00:36:28,218 --> 00:36:31,158
yeah then you can turn on immersive audio and
00:36:31,158 --> 00:36:35,538
like if you move your head the mix stays in front of you right you know and
00:36:35,538 --> 00:36:40,638
and that's pretty cool and just the the 5.1 was like you know left center right
00:36:40,638 --> 00:36:45,778
right rear left rear point one is your low frequency so that adds another point
00:36:45,778 --> 00:36:50,198
so whatever's after that the third number is your ceiling link firings.
00:36:50,598 --> 00:36:56,038
So for mixing, they recommend at least 7.1, 0.4.
00:36:56,398 --> 00:36:59,818
So in addition to the left, center, right, rear, right, rear,
00:36:59,878 --> 00:37:03,778
left, you'll also have two lateral channels about at your ear, a little bit behind you.
00:37:03,998 --> 00:37:11,018
And you can either have one sub or two, so 0.1 or 0.2, either a sub on each side or just the one.
00:37:11,238 --> 00:37:14,818
And then 0.4, so you have two in
00:37:14,818 --> 00:37:18,038
front of you on the ceiling and two behind you on the ceiling but you
00:37:18,038 --> 00:37:22,098
know i mean you can have 9.2.6 or
00:37:22,098 --> 00:37:26,778
you know a hundred point whatever the theaters are they i think they have up
00:37:26,778 --> 00:37:32,238
to 128 speakers is what the the theater mix will get and that's not even a different
00:37:32,238 --> 00:37:36,458
file which is the coolest thing to me right because it just copulates itself
00:37:36,458 --> 00:37:41,298
down into whatever format you're listening to from From mono to big explosive,
00:37:41,498 --> 00:37:44,118
like you said, theater type stuff. Yeah, exactly.
00:37:44,418 --> 00:37:46,818
00:37:47,728 --> 00:37:50,628
You know, the reason I think it's going to survive is you don't have to then
00:37:50,628 --> 00:37:52,468
go rebuy your music catalog.
00:37:52,588 --> 00:37:55,748
You just click a button in wherever you listen to music already.
00:37:55,848 --> 00:37:58,768
And it's like, oh, boom, Atmos Mix. Cool. Done. Right. Right.
00:37:58,988 --> 00:38:03,728
Cool. Yeah. So the future of technology is going to be an interesting journey
00:38:03,728 --> 00:38:06,248
over the next, I think, decade to two decades.
00:38:06,428 --> 00:38:09,148
It's going to be interesting to see what's going to happen with all that kind
00:38:09,148 --> 00:38:12,148
of stuff, you know, because they might even start putting that stuff in your,
00:38:12,228 --> 00:38:15,028
you know, your cars and stuff, some kind of Atmos type thing who
00:38:15,028 --> 00:38:17,988
knows i think tesla is maybe either has
00:38:17,988 --> 00:38:21,028
done it or is you know teasing the fact because
00:38:21,028 --> 00:38:25,408
i mean what you know you're already in a surround environment
00:38:25,408 --> 00:38:28,588
you know with the speakers around you they just initially is
00:38:28,588 --> 00:38:32,108
like everything on the left plays one thing everything on the right plays another
00:38:32,108 --> 00:38:37,588
but you know if they just route it different then i'm pretty sure uh the tesla
00:38:37,588 --> 00:38:42,528
is going to be you know having the atmos compatible so yeah they're going to
00:38:42,528 --> 00:38:48,188
bring the a car mix to a a whole new level huh right exactly check my mix in the car.
00:38:49,748 --> 00:38:53,508
Is there anything else we haven't talked about that you think that you'd like
00:38:53,508 --> 00:38:58,628
to listeners to know about shoot i feel like i've been just tangenting the whole
00:38:58,628 --> 00:39:04,888
time i know man i i think uh you know you covered a bunch of it just you know uh i i want to,
00:39:05,628 --> 00:39:08,968
encourage artists who like the studio seems daunting or
00:39:08,968 --> 00:39:11,848
you know a lot of people i
00:39:11,848 --> 00:39:14,708
reach out to will you know somebody in
00:39:14,708 --> 00:39:19,288
the band records them and usually that's like the same guy who will do their
00:39:19,288 --> 00:39:25,228
live sound or something and i i don't know how to say this without sounding
00:39:25,228 --> 00:39:32,288
like i'm i'm being a jerk i'm saying this from a point of like experience yeah
00:39:32,288 --> 00:39:34,188
yeah and like also like like.
00:39:35,818 --> 00:39:38,918
For their sake to like realize your music
00:39:38,918 --> 00:39:42,498
to the highest quality like i've had messages with
00:39:42,498 --> 00:39:45,598
people and they're like well you know we went to a studio and it
00:39:45,598 --> 00:39:48,658
sounded the same as the blah blah blah you know
00:39:48,658 --> 00:39:51,638
when our bass player records it and it's like well what studio
00:39:51,638 --> 00:39:54,758
so then i do a little research and it's like well if they
00:39:54,758 --> 00:39:58,878
have like some perception 2020s
00:39:58,878 --> 00:40:02,498
and focus right sapphire or
00:40:02,498 --> 00:40:05,738
scarlet and your bass player has a
00:40:05,738 --> 00:40:08,678
focus right and then like wouldn't it
00:40:08,678 --> 00:40:12,178
be weirder if it sounded different right and so i
00:40:12,178 --> 00:40:16,478
just i wanted to have an environment that's treated where like the playback
00:40:16,478 --> 00:40:21,818
here i'm very happy with how it came out like this sounds better than any any
00:40:21,818 --> 00:40:26,298
room to my recollection that we had in school and there was like some pretty
00:40:26,298 --> 00:40:31,078
cool setups there and just that allows allows you, whether it's in the recording,
00:40:31,238 --> 00:40:35,618
mixing or mastering phase to like, to make decisions.
00:40:36,018 --> 00:40:39,998
With, you know, in certain rooms or even rooms that I've had set up initially,
00:40:40,198 --> 00:40:44,518
you know, where I'm recording in a closet in my, for the vocal booth and my
00:40:44,518 --> 00:40:47,018
speakers are in a corner or one's in a corner.
00:40:47,118 --> 00:40:49,638
So I'm getting way more bass from that side. It's like, then.
00:40:49,778 --> 00:40:54,778
You know, you neuter it and take out all the 200, 300 Hertz, go play in the car.
00:40:54,878 --> 00:40:57,838
And it's like, well, this, you know, know this don't sound
00:40:57,838 --> 00:41:00,938
right like you just took all the power out of
00:41:00,938 --> 00:41:04,138
it that's why you you did that with your eq right
00:41:04,138 --> 00:41:07,318
you know and i'm talking you as in me right i
00:41:07,318 --> 00:41:10,158
just you know i tried to set up a place that you know
00:41:10,158 --> 00:41:13,898
i feel can be like conducive to creativity and
00:41:13,898 --> 00:41:17,038
we're being able to you know make
00:41:17,038 --> 00:41:20,718
accurate decisions during all phases of it you
00:41:20,718 --> 00:41:23,558
know i feel like it's you know just like building this place like
00:41:23,558 --> 00:41:26,358
it's the little things that count and when they they stack up
00:41:26,358 --> 00:41:29,458
on each other like being able to hear like the separation in depth
00:41:29,458 --> 00:41:32,858
and i i had a lot of trouble before this
00:41:32,858 --> 00:41:35,698
room like getting reverb to sound right you
00:41:35,698 --> 00:41:38,478
know too little too much and i i kind of
00:41:38,478 --> 00:41:42,338
i think i cracked the egg here in when
00:41:42,338 --> 00:41:45,118
i would go to add reverb before you know
00:41:45,118 --> 00:41:48,358
you're putting on a fake reverb onto a sound that was probably
00:41:48,358 --> 00:41:51,318
recorded in a room that wasn't treated so that sound
00:41:51,318 --> 00:41:53,998
has a lot out a reverb then i'm adding a fake reverb in my
00:41:53,998 --> 00:41:57,158
speakers pumping that out into my drywall room which
00:41:57,158 --> 00:42:00,058
is then exciting the room so you're hearing like
00:42:00,058 --> 00:42:05,878
three reverbs only one of them is there where you know this here having it so
00:42:05,878 --> 00:42:14,438
so tight in here is like i i'm confident in adding spatial effects and things
00:42:14,438 --> 00:42:19,678
like that you know that is like this this is gonna translate and yeah you You know,
00:42:19,738 --> 00:42:22,358
I just, even though the live room isn't done.
00:42:22,438 --> 00:42:25,198
I've been having a lot of bands in to just come check the place out.
00:42:25,318 --> 00:42:28,358
Listen to some tunes, and it, you know...
00:42:29,778 --> 00:42:32,698
It makes me feel good when people are like, I've listened to this song for 15
00:42:32,698 --> 00:42:35,258
years. I never heard that organ part on that third chorus.
00:42:35,418 --> 00:42:39,498
You know, it's like, I'm like, oh, that's awesome. I love that.
00:42:39,558 --> 00:42:43,098
Because when that happens to me, I'm like, you know, I get goosebumps and stuff.
00:42:43,338 --> 00:42:47,278
And so I've just been trying to have people come in here and kind of get the
00:42:47,278 --> 00:42:49,618
vibe. And, you know, it might not be for everybody.
00:42:49,778 --> 00:42:53,998
And like I said, I have good relationships with all the other area studios.
00:42:54,218 --> 00:42:59,038
I either worked with them, still work with them, you know, still conversate
00:42:59,038 --> 00:43:03,158
with them. Like, you know, it's try to help each other out and be in the,
00:43:03,278 --> 00:43:07,278
not the scarcity mindset, you know, be in the blue sea, not the red one.
00:43:07,418 --> 00:43:08,598
00:43:08,758 --> 00:43:12,338
Where can people find you out in the inter web areas?
00:43:12,758 --> 00:43:17,778
Well, Hollywood.com is the website. And then like the Instagram and Facebook
00:43:17,778 --> 00:43:19,658
are Hollywood recording company.
00:43:19,878 --> 00:43:26,258
So I know that can be a mouthful, but yeah, H-A-L-L-I-E-W-O-O-D like Hollywood,
00:43:26,278 --> 00:43:29,258
but Hollywood and then recording company. Gotcha.
00:43:29,658 --> 00:43:33,058
And I'll put that all in the show details as well.
00:43:33,238 --> 00:43:36,178
So Jordan, thank you so much for being on the Wisconsin Music Podcast.
00:43:36,318 --> 00:43:41,278
It was a lot of information, positive and great learning things and tips and
00:43:41,278 --> 00:43:42,958
all that other great stuff coming from you.
00:43:43,018 --> 00:43:46,658
So thank you so much for being on the show. Well, man, I appreciate you having
00:43:46,658 --> 00:43:50,878
me and I appreciate what you're doing for, you know, for the community as far
00:43:50,878 --> 00:43:52,718
as engineers, venues, artists.
00:43:52,938 --> 00:43:58,398
It's super cool. And yeah, I appreciate your time and all the time you put in
00:43:58,398 --> 00:44:01,798
after hours as well to make this happen, man.
00:44:01,878 --> 00:44:04,618
I know it's not easy. Thanks. Thank you so much.
00:44:06,638 --> 00:44:09,418
Well thanks again for tuning in to another episode of
00:44:09,418 --> 00:44:12,258
the wisconsin music podcast once again i'm zach fell your
00:44:12,258 --> 00:44:14,958
host and creator of the wisconsin music podcast where i
00:44:14,958 --> 00:44:19,838
love to amplify the great sounds coming out of the wisconsin state we have great
00:44:19,838 --> 00:44:26,078
talent here great support great listeners thanks to fox city's indie radio for
00:44:26,078 --> 00:44:30,278
syndicating this on wednesdays and sundays along with their other great programmers
00:44:30,278 --> 00:44:34,698
so make sure you check out the fox city's indie radio and thanks to this This week's guest,
00:44:34,878 --> 00:44:39,558
Jordan Hoversholm of Hayley Wood Recording Studios, for being on this week's episode.
00:44:39,838 --> 00:44:44,658
If you'd like to be on the show, just go to wisconsinmusicpodcast.com,
00:44:44,718 --> 00:44:47,938
fill out the guest request form up at the top.
00:44:47,978 --> 00:44:52,298
Ask for your email and your name, and then I'll send you an auto email asking
00:44:52,298 --> 00:44:53,418
you for more information.
00:44:53,698 --> 00:44:57,878
If you are enjoying these episodes, please consider donating to the Wisconsin Music Podcast.
00:44:57,878 --> 00:45:00,638
Podcast donations help pay for the website and putting
00:45:00,638 --> 00:45:05,258
the podcast up on streaming services and also getting our name out there to
00:45:05,258 --> 00:45:09,198
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00:45:09,198 --> 00:45:13,758
wisconsin donations are secured through paypal and stripe all you have to do
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is go to the website and click on donate to wmp once again thanks for tuning
00:45:18,878 --> 00:45:20,178
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