WMP#134: Inside Halliewood Recording Studio: Crafting a Modern Studio Environment

Wisconsin Music Podcast

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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Transcript:

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Music.

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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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You know so fast forward

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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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a certain time is like

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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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should be preparing for?

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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...

210
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One thing I found kind of cool is to put on, you know, either a movie they like

211
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or maybe a movie they've never seen and on mute.

212
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Right. And then just watch a scene and kind of score it, whether it be with

213
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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.

214
00:14:06,823 --> 00:14:11,283
Maybe. Yeah, that can kind of be a good thing to like shake things up and bring out some emotions.

215
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And then, you know, sometimes if you feel like you're writing the same song

216
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over and over and say you're, you know, writing down tempo kind of melancholy

217
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music is like, well, watch something happy and see what comes out.

218
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Or the reverse can be true, too, is like, you know, people will be like,

219
00:14:26,803 --> 00:14:29,063
well, you know, I can't write sad songs. My life's pretty good.

220
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It's like, well, watch a watch a movie that can tear at the heartstrings a little bit.

221
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It and then you can almost you know put yourself in their

222
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position and then you know then the emotion

223
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that's coming through is still you know

224
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authentic although it might not be yours if you're

225
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like feeling for them i don't know if that makes sense

226
00:14:48,683 --> 00:14:52,023
or not yeah definitely yeah yeah you get inspired by

227
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something that you weren't even thinking about at that moment it's

228
00:14:54,783 --> 00:14:57,603
just like a complete shift it's like you took a right turn

229
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instead you know going left kind of thing yeah yeah yeah absolutely

230
00:15:00,803 --> 00:15:03,603
so what about the listeners out there

231
00:15:03,603 --> 00:15:06,423
that are interested in becoming a recording engineer what

232
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

233
00:15:11,983 --> 00:15:18,703
money well that's almost for every musician out there too yeah no no for sure

234
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i mean i'm like being a little tongue-in-cheek yeah i know i i mean i i will

235
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say too is like you know most most engineers,

236
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?

237
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They just, we just drop them every 10 years, like Dr. J or something.

238
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They're just slightly less anticipated.

239
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But I mean, that's a really what drew me to it is like going to.

240
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Going to MMI, you know, I wanted to be the all singing, all dancing producer, play every instrument.

241
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And, you know, I had buddies in class, like when we're in production classes,

242
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classes, they'd whip up an instrumental in the class period that I'd be like,

243
00:15:57,583 --> 00:16:01,323
I had worked for days on my composition and it doesn't compare to that.

244
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And they're like, well, you know, my dad was in the church band and yada, blah, blah.

245
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.

246
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.

247
00:16:15,843 --> 00:16:19,243
But I, you know, I would say like.

248
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,

249
00:16:26,261 --> 00:16:31,901
gives me my creative fulfillment is, you know, mixing and mastering and coming

250
00:16:31,901 --> 00:16:35,981
up with ideas and trying wild stuff that may or may not work.

251
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

252
00:16:42,881 --> 00:16:46,001
because I don't necessarily,

253
00:16:46,201 --> 00:16:50,441
you know, my buddies, they think that I'm like an IT guy, too,

254
00:16:50,541 --> 00:16:53,041
because I, you know, got my computer up and going.

255
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

256
00:16:57,681 --> 00:17:00,101
pro tools running, you know.

257
00:17:00,101 --> 00:17:04,261
So, but, you know, that being said is like, I feel like you have to be,

258
00:17:04,321 --> 00:17:10,841
you know, open to at least a little bit of electronics and, you know,

259
00:17:10,841 --> 00:17:13,141
I, and some things more than others.

260
00:17:13,161 --> 00:17:16,341
Like, I'm sure some people are far better at computers than me and,

261
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.

262
00:17:21,621 --> 00:17:26,001
So I build like a lot of DIY kits and solder up preamps because,

263
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

264
00:17:31,241 --> 00:17:34,681
an AML kit for 230 bucks and.

265
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

266
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

267
00:17:49,157 --> 00:17:51,097
really touch on in school.

268
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Sometimes the schooling will give you the baseline to be able to understand

269
00:17:58,077 --> 00:17:59,857
the YouTubes you need to watch.

270
00:18:01,057 --> 00:18:07,357
You know what I'm saying? Yes. It basically, yeah, you learn the language in

271
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school and then you go down your own wormholes.

272
00:18:10,017 --> 00:18:13,877
And then it's like when you start getting into electronics, acoustics is like

273
00:18:13,877 --> 00:18:15,637
those can be their own discipline.

274
00:18:16,017 --> 00:18:19,317
You could just focus on that and stop engineering, you know,

275
00:18:19,317 --> 00:18:22,297
and be an electronics repairman or an acoustician.

276
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.

277
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And I guess, you know, to answer your question, instead of just rambling,

278
00:18:29,857 --> 00:18:35,077
I just want to, you know, I'd say be open to things that even,

279
00:18:35,137 --> 00:18:38,177
you know, you don't know they exist or you haven't tried them.

280
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So you don't know that you'd be like, well, I could never understand that.

281
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

282
00:18:46,857 --> 00:18:50,877
I still can figure out my electronics and resistors and, you know, so. Right, right.

283
00:18:51,337 --> 00:18:54,977
Right. Yeah. And, you know, for, you know, for me, when I was starting out,

284
00:18:55,017 --> 00:18:58,717
I was like, schematics was like such a foreign language to me.

285
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,

286
00:19:01,857 --> 00:19:05,057
but if you just, you know, just like anything, if we just keep working at it

287
00:19:05,057 --> 00:19:08,717
and every failure is a stepping stone to success, eventually you're going to

288
00:19:08,717 --> 00:19:09,877
get it. Yeah, absolutely.

289
00:19:10,177 --> 00:19:12,257
No, for sure. And it's the same with an instrument or whatever,

290
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

291
00:19:15,597 --> 00:19:18,077
shredding in a week. No, it's going to get frustrating.

292
00:19:18,217 --> 00:19:21,597
And it's it's funny how sometimes, you know, that stuff will mirror itself,

293
00:19:21,697 --> 00:19:25,517
like with guitar, if you're practicing and it seems like you're getting worse

294
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

295
00:19:28,197 --> 00:19:29,497
and you just lace it is like.

296
00:19:30,657 --> 00:19:32,677
Where did that come from? And it's the same with electronics.

297
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.

298
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

299
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

300
00:19:46,777 --> 00:19:49,197
ready for the next challenge, you know?

301
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

302
00:19:53,737 --> 00:19:56,957
and stuff. I'm like, why, why?

303
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.

304
00:20:00,917 --> 00:20:02,837
Like what's going on? It's like, all of a sudden I went, wait,

305
00:20:02,977 --> 00:20:05,337
click this little button, like auto monitoring.

306
00:20:05,497 --> 00:20:08,517
Oh, now I'm getting exactly what I'm looking for. It's like,

307
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.

308
00:20:12,497 --> 00:20:16,197
You just overthink something and you just like, oh, you totally missed something.

309
00:20:16,317 --> 00:20:19,157
And then all of a sudden you remember something and like, oh,

310
00:20:19,157 --> 00:20:20,097
it all comes back together.

311
00:20:20,097 --> 00:20:23,537
Together well yeah and it'll never happen again exactly

312
00:20:23,537 --> 00:20:26,757
you know exactly like that's in the toolbox now yeah

313
00:20:26,757 --> 00:20:29,397
exactly it's like if someone gives you all the

314
00:20:29,397 --> 00:20:33,997
answers you're not going to learn anything and then what good is that well yeah

315
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

316
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

317
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,

318
00:20:47,057 --> 00:20:50,037
you know, I don't say it in that voice. I'm being right.

319
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.

320
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.

321
00:21:00,457 --> 00:21:03,177
Yeah. So the whole time I'd be listening to podcasts.

322
00:21:03,357 --> 00:21:07,117
I mean, yours included in recording studio rock stars and working class audio,

323
00:21:07,257 --> 00:21:08,817
this, that, and the other.

324
00:21:08,857 --> 00:21:13,477
And that kind of helped me stay connected to recording. And then,

325
00:21:13,517 --> 00:21:17,137
you know, you're listening to those and they're talking about this trick that

326
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.

327
00:21:23,077 --> 00:21:26,897
And, you know, all that little stuff is like noted, noted, you know,

328
00:21:26,917 --> 00:21:28,337
it's just in the vocabulary.

329
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.

330
00:21:34,137 --> 00:21:39,357
So another aspect of being a studio owner is the business side.

331
00:21:39,357 --> 00:21:43,057
What are some things about the business side you can tell people that,

332
00:21:43,137 --> 00:21:46,877
you know, no matter if they're a musician or looking to become,

333
00:21:46,937 --> 00:21:48,057
you know, a studio owner,

334
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

335
00:21:52,837 --> 00:21:55,117
think might be something that you needed to know?

336
00:21:55,917 --> 00:22:02,757
Um, yeah, I mean, just treating it like a business, I guess that I hope this

337
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

338
00:22:06,417 --> 00:22:08,717
start doing it because we love it.

339
00:22:08,717 --> 00:22:13,657
And then in the initial stages, I mean, we all struggle with like the imposter

340
00:22:13,657 --> 00:22:17,637
syndrome and, you know, things like that or charging,

341
00:22:17,797 --> 00:22:22,177
because then a lot of people like even if initially I'm working with my friends

342
00:22:22,177 --> 00:22:26,337
and then you start to work with strangers, but like you're working on music,

343
00:22:26,437 --> 00:22:28,937
you're helping them create something that's very dear to them.

344
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.

345
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.

346
00:22:40,199 --> 00:22:43,039
I've, you know, haven't professionally been in a band, you know,

347
00:22:43,039 --> 00:22:48,419
just my band days ended in high school, but like, I don't know.

348
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

349
00:22:52,299 --> 00:22:57,059
it, but essentially they were saying like, if you don't charge enough,

350
00:22:57,179 --> 00:23:00,199
you know, or it could, because money always

351
00:23:00,199 --> 00:23:03,159
gets weird and man money will kill the creativity if you

352
00:23:03,159 --> 00:23:06,179
have that talk like i always try to have like the money

353
00:23:06,179 --> 00:23:08,999
talk first before somebody comes in here

354
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

355
00:23:14,839 --> 00:23:21,299
yeah but that can kill the creative vibe but what i had to kind of overcome

356
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

357
00:23:25,779 --> 00:23:28,119
enough you're going to be out of this business business.

358
00:23:28,559 --> 00:23:32,799
So you, you have to, you know, not saying rake people over the cold,

359
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

360
00:23:37,659 --> 00:23:39,119
going to be out of business in three years,

361
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

362
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?

363
00:23:48,719 --> 00:23:52,899
So it was like kind of that kind of helped me overcome the hump of like,

364
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

365
00:23:56,819 --> 00:24:02,319
sure that you know i'm i'm charging more than you know.

366
00:24:03,259 --> 00:24:06,139
More than i initially did we'll just

367
00:24:06,139 --> 00:24:10,499
say that because then things like taxes come in and you know wear and tear on

368
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

369
00:24:17,199 --> 00:24:20,619
with the band like you know traveling with gear i'm sure and then splitting

370
00:24:20,619 --> 00:24:24,839
money i'm sure that can be kind of, you know, a point of contention.

371
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.

372
00:24:29,499 --> 00:24:31,899
And sometimes that can take the fun out of it.

373
00:24:31,979 --> 00:24:36,119
But like, you know, knowing your worth will make sure that you're able to provide

374
00:24:36,119 --> 00:24:37,599
your service for longer.

375
00:24:37,819 --> 00:24:41,719
Gotcha. Gotcha. So did you do like research, like call other studios in your

376
00:24:41,719 --> 00:24:46,119
area, see how much they charge or how did you figure out where your medium or

377
00:24:46,119 --> 00:24:48,219
your baseline prices we're going to start?

378
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.

379
00:24:54,299 --> 00:24:56,819
Cause I just had a bunch of moving blankets around, you know,

380
00:24:56,859 --> 00:24:58,479
that was my sound treatment. Gotcha.

381
00:24:58,699 --> 00:25:02,379
I had a couple of panels up and stuff too, but I had, you know,

382
00:25:02,379 --> 00:25:05,979
worked with, and I still have a, you know, a good relationship with most of

383
00:25:05,979 --> 00:25:07,019
the studios around here.

384
00:25:07,259 --> 00:25:10,739
So, you know, I kind of knew what everybody's charging and I'm,

385
00:25:10,739 --> 00:25:12,639
you know, not the most expensive,

386
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

387
00:25:17,799 --> 00:25:21,619
of gotta you can't price yourself out of the market either right you got to

388
00:25:21,619 --> 00:25:23,559
make sure the phone's still ringing but um.

389
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

390
00:25:28,852 --> 00:25:34,252
then in the past couple of years with prices hiking and everything else is like

391
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

392
00:25:38,072 --> 00:25:41,212
with people like you know i'm i'm not doing this.

393
00:25:41,912 --> 00:25:45,512
Just because i decided to like if if groceries

394
00:25:45,512 --> 00:25:49,332
double right then you know

395
00:25:49,332 --> 00:25:52,352
prices got to go up too i i can't i can't

396
00:25:52,352 --> 00:25:55,492
charge my three years ago price for a project today

397
00:25:55,492 --> 00:25:58,232
exactly exactly it's like is there is the

398
00:25:58,232 --> 00:26:01,412
bubble gonna burst eventually i mean we can't just keep hiking prices left

399
00:26:01,412 --> 00:26:04,052
and right you know the back end to the front end it's just

400
00:26:04,052 --> 00:26:07,172
gonna it's got to explode eventually like everything else

401
00:26:07,172 --> 00:26:10,252
well yeah they can't just keep printing more money right

402
00:26:10,252 --> 00:26:12,932
exactly i mean they are but i

403
00:26:12,932 --> 00:26:16,052
right stops yeah because eventually everybody's

404
00:26:16,052 --> 00:26:18,812
going to be living in a cardboard bought a box pretty soon if

405
00:26:18,812 --> 00:26:21,832
prices keep going up yeah no no for sure

406
00:26:21,832 --> 00:26:24,632
i mean i hope we're out of it and like in building this place too

407
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

408
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

409
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

410
00:26:39,172 --> 00:26:44,532
where i could as in and DIYing the things I was able to, but,

411
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

412
00:26:49,712 --> 00:26:53,432
to have like a couple of choice microphones and kind of, you know,

413
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,

414
00:26:58,152 --> 00:27:01,292
you know, a lot of studios up here and the ones that I work with,

415
00:27:01,332 --> 00:27:04,852
and, you know, this is, I'm not saying this in like negative connotations,

416
00:27:04,852 --> 00:27:08,532
but they kind of have like an, an up North cabin cabin feel.

417
00:27:08,752 --> 00:27:11,512
And like, if that's what somebody calls for and they're looking for,

418
00:27:11,632 --> 00:27:14,972
I'll give them numbers of the other studios and be like, you know,

419
00:27:14,992 --> 00:27:17,712
go talk to my buddy at this studio, talk to my buddy at this studio,

420
00:27:17,812 --> 00:27:20,812
talk to my buddy at this studio, go take a tour, check the vibe out,

421
00:27:20,832 --> 00:27:23,192
because that might be more suited to you.

422
00:27:23,212 --> 00:27:26,572
I want to do something a little more modern, which is kind of, you know.

423
00:27:27,633 --> 00:27:30,953
In the name of Hollywood, like the town up here is called Lake Halley.

424
00:27:31,073 --> 00:27:34,133
And I just kind of called it the first

425
00:27:34,133 --> 00:27:38,253
place we lived in. It was known affectionately known as the tank farms.

426
00:27:38,493 --> 00:27:41,233
And there's a bit of stigma up there, you know?

427
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

428
00:27:46,293 --> 00:27:48,633
were coming up, like, oh yeah, I moved up to Hollywood now.

429
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

430
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.

431
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

432
00:28:01,393 --> 00:28:04,633
too serious, but at the same note, well,

433
00:28:04,953 --> 00:28:08,073
you know, I wanted to live up to the name a little bit and, you know,

434
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.

435
00:28:12,973 --> 00:28:17,393
And I want to, you know, stay up on the newest trends and I, you know.

436
00:28:17,633 --> 00:28:22,073
Yeah. I was going to ask you about some of the new technologies coming up and

437
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

438
00:28:25,033 --> 00:28:30,313
like things like studio or audio movers where you can do mixing over the internet

439
00:28:30,313 --> 00:28:34,173
with people or even recording and then and I was going to get over to Atmos

440
00:28:34,173 --> 00:28:36,093
and seeing if you're going to go that direction as well.

441
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

442
00:28:42,613 --> 00:28:48,073
and Soundflower and things like that but I never ended up really doing a ton

443
00:28:48,073 --> 00:28:53,993
of you know the recording with no no latency or, or whatever.

444
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,

445
00:29:02,453 --> 00:29:05,433
you know, I was held through the pandemic. A lot of people couldn't,

446
00:29:05,433 --> 00:29:07,233
you know, we couldn't leave. We couldn't. Yeah.

447
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

448
00:29:13,293 --> 00:29:17,173
put together a package for people because they'd be like, okay, I need to record.

449
00:29:17,353 --> 00:29:19,353
It's like, well, what's your budget? What are you looking at doing?

450
00:29:19,453 --> 00:29:21,053
Do you need speakers? Do you just want headphones?

451
00:29:21,273 --> 00:29:25,293
Blah, blah, blah, blah, blah. So I ended up facilitating getting a bunch of

452
00:29:25,293 --> 00:29:26,773
artists around here, home studios.

453
00:29:27,073 --> 00:29:30,193
And now it's like, Hey man, you know, forget all that come in here now.

454
00:29:32,373 --> 00:29:36,053
But so instead of the audio movers route, I had almost, you know,

455
00:29:36,053 --> 00:29:42,173
kind of made people, you know, or help them be able to record at home.

456
00:29:42,233 --> 00:29:46,193
So I could just do the mixing if they, we transferred me the stem.

457
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

458
00:29:51,593 --> 00:29:58,093
things and you know have more than just like interface preamps and you know

459
00:29:58,093 --> 00:30:02,293
MXL mics and nothing against I'm not you know not knocking the brand in total

460
00:30:02,293 --> 00:30:04,893
I just mean like I wanted to have to,

461
00:30:05,992 --> 00:30:09,872
you know, higher quality. I wanted to have like the treatment in this room.

462
00:30:09,952 --> 00:30:14,732
Graham from Music City Acoustics gave me like four plans, mild to wild.

463
00:30:14,852 --> 00:30:18,192
And the wild plan was the whole back wall is bass traps.

464
00:30:18,352 --> 00:30:21,392
So I went with three of four on the crazy scale.

465
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.

466
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.

467
00:30:34,352 --> 00:30:39,612
I auditioned my buddy in town that has Eau Claire Perle Audio, Zach.

468
00:30:40,872 --> 00:30:44,672
I found his store on Reverb, and he had like some barefoots.

469
00:30:44,812 --> 00:30:50,032
At the time, I had some ATC SCM20s, but I was looking at getting these PMCs.

470
00:30:50,652 --> 00:30:55,072
He had like three or four sets of like really nice monitors for sale.

471
00:30:55,112 --> 00:30:58,152
I'm like, listen, dude, I don't know who you are or how you,

472
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

473
00:31:01,652 --> 00:31:03,712
a good time to buy you a coffee. We need to have a little talk.

474
00:31:04,012 --> 00:31:07,032
So he, he brought his monitors over.

475
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.

476
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

477
00:31:18,632 --> 00:31:23,052
space, which, you know, would not be attainable usually.

478
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

479
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

480
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

481
00:31:37,612 --> 00:31:41,292
have all the ones i want and yeah so i mean.

482
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

483
00:31:51,293 --> 00:31:52,333
environment I could get.

484
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.

485
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,

486
00:32:05,573 --> 00:32:07,893
I got to finish me live room here.

487
00:32:07,953 --> 00:32:11,513
I'm drywalling right now. So the lights at the end of the tunnel,

488
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.

489
00:32:20,053 --> 00:32:23,473
That's something that really, you know, really interests me.

490
00:32:23,513 --> 00:32:24,453
I think that's super cool.

491
00:32:24,533 --> 00:32:28,933
And I believe in it, even though like the 5.1 didn't take off.

492
00:32:29,333 --> 00:32:32,613
Just, you know, I heard a couple of people talking about it and just like,

493
00:32:32,633 --> 00:32:36,613
like we got to listen to quad mixes in school, the dark side stuff.

494
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

495
00:32:40,113 --> 00:32:43,413
don't even sit in one space and listen you know

496
00:32:43,413 --> 00:32:46,633
i mean i even find myself doing it with my you know my

497
00:32:46,633 --> 00:32:49,513
amazon devices you know it's like hey play this song play

498
00:32:49,513 --> 00:32:55,413
this podcast and i'm walking around doing dishes doing laundry right so just

499
00:32:55,413 --> 00:32:59,193
what's cool about the atmos is like the whole object-based thing where like

500
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

501
00:33:04,853 --> 00:33:06,853
at edit in your DAW, unless Logic,

502
00:33:06,933 --> 00:33:09,213
I think they only like show one of the tracks.

503
00:33:09,313 --> 00:33:13,833
But anyways, you know, a stereo track is just two audio tracks linked to each other.

504
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

505
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.

506
00:33:23,033 --> 00:33:28,013
So the whole object based thing, that kind of sold me on it where like,

507
00:33:28,093 --> 00:33:33,773
you know, you can, if you have a soundbar that has three, three,

508
00:33:33,773 --> 00:33:35,493
you know, left, right, center.

509
00:33:36,053 --> 00:33:40,353
And then like, you can add two of the Sonos ones, just drop them behind you.

510
00:33:40,413 --> 00:33:44,033
And then as long as you let your interface know is like, well,

511
00:33:44,093 --> 00:33:45,333
what are we playing this through?

512
00:33:45,413 --> 00:33:48,813
One speaker, three speakers, how many ceiling firings, how many surrounds?

513
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.

514
00:33:55,633 --> 00:33:59,553
And I also, you know, in my time of,

515
00:33:59,613 --> 00:34:02,373
you know, trying different things to see what sticks i've done a couple

516
00:34:02,373 --> 00:34:05,213
of short films and i'm working with a company in

517
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

518
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

519
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

520
00:34:20,813 --> 00:34:23,613
doors and i i also just found it cool that like.

521
00:34:24,358 --> 00:34:29,018
You know, people, I mean, in, in bigger cities where there's a lot more Atmos

522
00:34:29,018 --> 00:34:32,798
rooms, people are starting to create with the idea instead of like,

523
00:34:32,918 --> 00:34:36,778
Hey, take my true two track mix and make it Atmos like, okay,

524
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.

525
00:34:42,978 --> 00:34:47,278
Right. Right. It's like, if people are creating with the idea that this is going

526
00:34:47,278 --> 00:34:49,938
to be immersive, I just, I think that that,

527
00:34:49,978 --> 00:34:55,178
you know, can be like another way for people to express themselves or create

528
00:34:55,178 --> 00:34:59,658
cool environments or, you know, experiences for the listener.

529
00:34:59,718 --> 00:35:03,498
And I'm all in. I'm so. So, yeah, we were talking about Atmos. Now.

530
00:35:03,918 --> 00:35:08,278
Yeah. Cause you know, like you said, you know, quad was back in like the seventies

531
00:35:08,278 --> 00:35:12,958
and then we had 5.1, which came out, I think in like the late eighties,

532
00:35:12,958 --> 00:35:13,998
early nineties, I think.

533
00:35:14,178 --> 00:35:16,818
I'm trying to remember the dates when that started kind of. Yeah.

534
00:35:16,898 --> 00:35:18,398
No, that sounds about right. Yeah.

535
00:35:18,638 --> 00:35:22,378
And now we have this Atmos. And for listeners out there, if you're not sure

536
00:35:22,378 --> 00:35:25,738
what Atmos is, it's, I think it's up to nine speakers.

537
00:35:25,878 --> 00:35:29,658
I think it's like, what, two basses? And then you have ones above you,

538
00:35:29,698 --> 00:35:32,458
behind you, and in front of you, if I remember correctly how that sounds.

539
00:35:32,458 --> 00:35:37,258
Yeah. I mean, from my understanding, it can be like up to 128 speakers because

540
00:35:37,258 --> 00:35:39,038
like then Atmos mixes it.

541
00:35:39,058 --> 00:35:43,058
Basically, the theaters will use the same file as we would.

542
00:35:43,138 --> 00:35:47,298
So to mix in it, they recommend having at least because like the,

543
00:35:47,338 --> 00:35:51,478
you know, and I'm saying this for the people who have, you know,

544
00:35:51,498 --> 00:35:53,578
no, no experience or. Right.

545
00:35:53,798 --> 00:35:57,418
No prior knowledge. Like, yeah, you're 5.1 set up, which like,

546
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,

547
00:36:00,798 --> 00:36:06,438
but nobody really used it for music because, you know, one,

548
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.

549
00:36:12,078 --> 00:36:17,478
And two, you had to buy the SACD or the DVD audio. audio. So another reason

550
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

551
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.

552
00:36:25,258 --> 00:36:28,218
The apple earbuds the pro the newest ones yeah

553
00:36:28,218 --> 00:36:31,158
yeah then you can turn on immersive audio and

554
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

555
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

556
00:36:40,638 --> 00:36:45,778
right rear left rear point one is your low frequency so that adds another point

557
00:36:45,778 --> 00:36:50,198
so whatever's after that the third number is your ceiling link firings.

558
00:36:50,598 --> 00:36:56,038
So for mixing, they recommend at least 7.1, 0.4.

559
00:36:56,398 --> 00:36:59,818
So in addition to the left, center, right, rear, right, rear,

560
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.

561
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.

562
00:37:11,238 --> 00:37:14,818
And then 0.4, so you have two in

563
00:37:14,818 --> 00:37:18,038
front of you on the ceiling and two behind you on the ceiling but you

564
00:37:18,038 --> 00:37:22,098
know i mean you can have 9.2.6 or

565
00:37:22,098 --> 00:37:26,778
you know a hundred point whatever the theaters are they i think they have up

566
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

567
00:37:32,238 --> 00:37:36,458
file which is the coolest thing to me right because it just copulates itself

568
00:37:36,458 --> 00:37:41,298
down into whatever format you're listening to from From mono to big explosive,

569
00:37:41,498 --> 00:37:44,118
like you said, theater type stuff. Yeah, exactly.

570
00:37:44,418 --> 00:37:46,818
And that is what also...

571
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

572
00:37:50,628 --> 00:37:52,468
go rebuy your music catalog.

573
00:37:52,588 --> 00:37:55,748
You just click a button in wherever you listen to music already.

574
00:37:55,848 --> 00:37:58,768
And it's like, oh, boom, Atmos Mix. Cool. Done. Right. Right.

575
00:37:58,988 --> 00:38:03,728
Cool. Yeah. So the future of technology is going to be an interesting journey

576
00:38:03,728 --> 00:38:06,248
over the next, I think, decade to two decades.

577
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

578
00:38:09,148 --> 00:38:12,148
of stuff, you know, because they might even start putting that stuff in your,

579
00:38:12,228 --> 00:38:15,028
you know, your cars and stuff, some kind of Atmos type thing who

580
00:38:15,028 --> 00:38:17,988
knows i think tesla is maybe either has

581
00:38:17,988 --> 00:38:21,028
done it or is you know teasing the fact because

582
00:38:21,028 --> 00:38:25,408
i mean what you know you're already in a surround environment

583
00:38:25,408 --> 00:38:28,588
you know with the speakers around you they just initially is

584
00:38:28,588 --> 00:38:32,108
like everything on the left plays one thing everything on the right plays another

585
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

586
00:38:37,588 --> 00:38:42,528
is going to be you know having the atmos compatible so yeah they're going to

587
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.

588
00:38:49,748 --> 00:38:53,508
Is there anything else we haven't talked about that you think that you'd like

589
00:38:53,508 --> 00:38:58,628
to listeners to know about shoot i feel like i've been just tangenting the whole

590
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,

591
00:39:05,628 --> 00:39:08,968
encourage artists who like the studio seems daunting or

592
00:39:08,968 --> 00:39:11,848
you know a lot of people i

593
00:39:11,848 --> 00:39:14,708
reach out to will you know somebody in

594
00:39:14,708 --> 00:39:19,288
the band records them and usually that's like the same guy who will do their

595
00:39:19,288 --> 00:39:25,228
live sound or something and i i don't know how to say this without sounding

596
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

597
00:39:32,288 --> 00:39:34,188
yeah and like also like like.

598
00:39:35,818 --> 00:39:38,918
For their sake to like realize your music

599
00:39:38,918 --> 00:39:42,498
to the highest quality like i've had messages with

600
00:39:42,498 --> 00:39:45,598
people and they're like well you know we went to a studio and it

601
00:39:45,598 --> 00:39:48,658
sounded the same as the blah blah blah you know

602
00:39:48,658 --> 00:39:51,638
when our bass player records it and it's like well what studio

603
00:39:51,638 --> 00:39:54,758
so then i do a little research and it's like well if they

604
00:39:54,758 --> 00:39:58,878
have like some perception 2020s

605
00:39:58,878 --> 00:40:02,498
and focus right sapphire or

606
00:40:02,498 --> 00:40:05,738
scarlet and your bass player has a

607
00:40:05,738 --> 00:40:08,678
focus right and then like wouldn't it

608
00:40:08,678 --> 00:40:12,178
be weirder if it sounded different right and so i

609
00:40:12,178 --> 00:40:16,478
just i wanted to have an environment that's treated where like the playback

610
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

611
00:40:21,818 --> 00:40:26,298
room to my recollection that we had in school and there was like some pretty

612
00:40:26,298 --> 00:40:31,078
cool setups there and just that allows allows you, whether it's in the recording,

613
00:40:31,238 --> 00:40:35,618
mixing or mastering phase to like, to make decisions.

614
00:40:36,018 --> 00:40:39,998
With, you know, in certain rooms or even rooms that I've had set up initially,

615
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

616
00:40:44,518 --> 00:40:47,018
speakers are in a corner or one's in a corner.

617
00:40:47,118 --> 00:40:49,638
So I'm getting way more bass from that side. It's like, then.

618
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.

619
00:40:54,878 --> 00:40:57,838
And it's like, well, this, you know, know this don't sound

620
00:40:57,838 --> 00:41:00,938
right like you just took all the power out of

621
00:41:00,938 --> 00:41:04,138
it that's why you you did that with your eq right

622
00:41:04,138 --> 00:41:07,318
you know and i'm talking you as in me right i

623
00:41:07,318 --> 00:41:10,158
just you know i tried to set up a place that you know

624
00:41:10,158 --> 00:41:13,898
i feel can be like conducive to creativity and

625
00:41:13,898 --> 00:41:17,038
we're being able to you know make

626
00:41:17,038 --> 00:41:20,718
accurate decisions during all phases of it you

627
00:41:20,718 --> 00:41:23,558
know i feel like it's you know just like building this place like

628
00:41:23,558 --> 00:41:26,358
it's the little things that count and when they they stack up

629
00:41:26,358 --> 00:41:29,458
on each other like being able to hear like the separation in depth

630
00:41:29,458 --> 00:41:32,858
and i i had a lot of trouble before this

631
00:41:32,858 --> 00:41:35,698
room like getting reverb to sound right you

632
00:41:35,698 --> 00:41:38,478
know too little too much and i i kind of

633
00:41:38,478 --> 00:41:42,338
i think i cracked the egg here in when

634
00:41:42,338 --> 00:41:45,118
i would go to add reverb before you know

635
00:41:45,118 --> 00:41:48,358
you're putting on a fake reverb onto a sound that was probably

636
00:41:48,358 --> 00:41:51,318
recorded in a room that wasn't treated so that sound

637
00:41:51,318 --> 00:41:53,998
has a lot out a reverb then i'm adding a fake reverb in my

638
00:41:53,998 --> 00:41:57,158
speakers pumping that out into my drywall room which

639
00:41:57,158 --> 00:42:00,058
is then exciting the room so you're hearing like

640
00:42:00,058 --> 00:42:05,878
three reverbs only one of them is there where you know this here having it so

641
00:42:05,878 --> 00:42:14,438
so tight in here is like i i'm confident in adding spatial effects and things

642
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,

643
00:42:19,738 --> 00:42:22,358
I just, even though the live room isn't done.

644
00:42:22,438 --> 00:42:25,198
I've been having a lot of bands in to just come check the place out.

645
00:42:25,318 --> 00:42:28,358
Listen to some tunes, and it, you know...

646
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

647
00:42:32,698 --> 00:42:35,258
years. I never heard that organ part on that third chorus.

648
00:42:35,418 --> 00:42:39,498
You know, it's like, I'm like, oh, that's awesome. I love that.

649
00:42:39,558 --> 00:42:43,098
Because when that happens to me, I'm like, you know, I get goosebumps and stuff.

650
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

651
00:42:47,278 --> 00:42:49,618
vibe. And, you know, it might not be for everybody.

652
00:42:49,778 --> 00:42:53,998
And like I said, I have good relationships with all the other area studios.

653
00:42:54,218 --> 00:42:59,038
I either worked with them, still work with them, you know, still conversate

654
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,

655
00:43:03,278 --> 00:43:07,278
not the scarcity mindset, you know, be in the blue sea, not the red one.

656
00:43:07,418 --> 00:43:08,598
Right. Exactly. Exactly.

657
00:43:08,758 --> 00:43:12,338
Where can people find you out in the inter web areas?

658
00:43:12,758 --> 00:43:17,778
Well, Hollywood.com is the website. And then like the Instagram and Facebook

659
00:43:17,778 --> 00:43:19,658
are Hollywood recording company.

660
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,

661
00:43:26,278 --> 00:43:29,258
but Hollywood and then recording company. Gotcha.

662
00:43:29,658 --> 00:43:33,058
And I'll put that all in the show details as well.

663
00:43:33,238 --> 00:43:36,178
So Jordan, thank you so much for being on the Wisconsin Music Podcast.

664
00:43:36,318 --> 00:43:41,278
It was a lot of information, positive and great learning things and tips and

665
00:43:41,278 --> 00:43:42,958
all that other great stuff coming from you.

666
00:43:43,018 --> 00:43:46,658
So thank you so much for being on the show. Well, man, I appreciate you having

667
00:43:46,658 --> 00:43:50,878
me and I appreciate what you're doing for, you know, for the community as far

668
00:43:50,878 --> 00:43:52,718
as engineers, venues, artists.

669
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

670
00:43:58,398 --> 00:44:01,798
after hours as well to make this happen, man.

671
00:44:01,878 --> 00:44:04,618
I know it's not easy. Thanks. Thank you so much.

672
00:44:06,638 --> 00:44:09,418
Well thanks again for tuning in to another episode of

673
00:44:09,418 --> 00:44:12,258
the wisconsin music podcast once again i'm zach fell your

674
00:44:12,258 --> 00:44:14,958
host and creator of the wisconsin music podcast where i

675
00:44:14,958 --> 00:44:19,838
love to amplify the great sounds coming out of the wisconsin state we have great

676
00:44:19,838 --> 00:44:26,078
talent here great support great listeners thanks to fox city's indie radio for

677
00:44:26,078 --> 00:44:30,278
syndicating this on wednesdays and sundays along with their other great programmers

678
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,

679
00:44:34,878 --> 00:44:39,558
Jordan Hoversholm of Hayley Wood Recording Studios, for being on this week's episode.

680
00:44:39,838 --> 00:44:44,658
If you'd like to be on the show, just go to wisconsinmusicpodcast.com,

681
00:44:44,718 --> 00:44:47,938
fill out the guest request form up at the top.

682
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

683
00:44:52,298 --> 00:44:53,418
you for more information.

684
00:44:53,698 --> 00:44:57,878
If you are enjoying these episodes, please consider donating to the Wisconsin Music Podcast.

685
00:44:57,878 --> 00:45:00,638
Podcast donations help pay for the website and putting

686
00:45:00,638 --> 00:45:05,258
the podcast up on streaming services and also getting our name out there to

687
00:45:05,258 --> 00:45:09,198
all wisconsinites and others that are interested in our great music here in

688
00:45:09,198 --> 00:45:13,758
wisconsin donations are secured through paypal and stripe all you have to do

689
00:45:13,758 --> 00:45:18,878
is go to the website and click on donate to wmp once again thanks for tuning

690
00:45:18,878 --> 00:45:20,178
in and we'll see you next week.