ADR: So, what are the drawbacks to
producing music for artists that you are
a fan of, and discover?
B.R: My least favorite part of record-
ing/producing a project is the really
low budget sessions that don’t allow
enough time to get things done right. I
always say, ‘I don’t record demos’. Been
there, done that. If you want to make
high quality records, or radio singles
then I am your guy.
ADR: Besides the financial aspect of
things, what’s the biggest obstacle that
you have faced in your career.
B.R: The biggest obstacles I face I this
B.R: I have a certain amount of pa-
tience when it comes to an artist getting their parts right in the studio. If
they drank too much the night before
and are hung over and just can’t do it,
I may send them home, or have them
drink some hot tea or grab a meal and
a nap while I work on other parts with
one of the musicians. If I have no other
option, I will tell them how to improve
and send them home to get some practice, lessons, etc.
ADR: Do you give creative input into
artists’ project, and to what extent?
BR: I always give creative input during
sessions. In most cases I am perfectly
honest and will tell them what areas
need work and how they can fix things.
If they have no business in my studio
and if I somehow was not able to hear
their skills (or lack of skills) before the
session, I may cancel the session and
send them home.
50 | Acoustic Drive
business are home recording studios.
With the ever-growing popularity of
do-it-yourself home recording, much
business has been lost to the trend. But
hey, I started in a home studio too, so
there’s something to be said about honing one’s craft in the comfort and affordability of home. But when former
Life is too short to record crappy muclients decide to accept lesser quality
sic. I try to weed that out before ever
when they have the means to do better
booking a session.
quality, it can hurt the bottom line. As
ADR: Well, it seems like you are weed- a studio owner I just need to ensure
that I use top of the line equipment that
ing out what you’d rather not work
the average musician cannot afford to
with. I can understand that. Are their
any artists that you have sort of tried to own. I must give attention to detail in
every project I work on. And I must
‘take under your wing’? Mentor or try
share my knowledge with the client so
help them steer their music career in a
they may head down the correct path.
certain direction?
B.R: There are a few artists as of late
that I have taken under my wing.
There are many talented artists in this
area. When I discover an amazing new
talent that hasn’t got a decent album
yet, or who doesn’t have radio airplay,
it’s my job to help them get the attention they deserve. A few of the guys I
have taken under my wing recently are
Dusty Smirl, Zack Verner, and Mike
Stanley. All amazingly talented dudes
who need someone like me to help
them get to the next level.
ADR: You have done that for so many
artists hitting the charts, now. That is
certaintly a great accomplishment.
B.R: I’d say my biggest career accom-
plishment so far has been assisting my
Producer buddy David Castell with the
2008 Toadies comeback album “No Deliverance”. I was a huge fan back in the
90’s when they released “Rubberneck”
and never dreamed I would one day get
a chance to work with them in my own
studio.