Miking the bass section
Once again, fall has proven to be a very busy time here at DRR&P. Since the first week of October I have produced 2 shows for Disney Theatrical, a junior version of Peter Pan and a definitive recording of Tarzan (great music by Phil Collins), SeaWorld Orlando’s new Christmas spectacular, “O Wondrous Night”, recorded and mixed an album for vocal trio, The Marshalls, and tracked an album for up and coming Ecudoran singer, James Febris. All tracking was done at The Tracking Room, Nashville and at my studio, My Space Recording. Read the rest of this entry
Licensing explained for Indie artists and labels
I spend most of my professional life helping artists, bands and other clients through the process of music production. Like most of the people I work with, my love of making music is why I do what I do but it’s foolish to forget that we have business to take care of as well, so here are some thoughts and tools for rounding out your plan for Indie (or even Label) domination.
7 Steps To A Glorious Future
Yes, there is more to making a record than just production. This is why, for decades, people gladly signed over most of their profits (and most of their rights) to Record Labels, because they handled all the dirty work (leaving rock stars free to be rock stars). Let’s look at a rough sketch of the steps involved in making a successful master recording. Read the rest of this entry
On site final mix in Shamu's theater, SeaWorld of Texas
Producing music for theatrical productions presents many challenges you don’t often face when doing record, film or tv work. Whether for a Broadway style show or, in the case of “Shamu’s Rockin’ Creepshow”, a multi-media, live animal production, there are dialog, SFX, natural animal noises and odd playback systems to contend with. I find that a first-hand knowledge of the end use and venue can really informs my composition and production decisions for each project.
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