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Archive for the ‘Interview’ Category
Monday, March 1st, 2010
This is a guest post from Geoffrey Granka of Fresh Produce Productions. Find him online at www.freshaudio.ca and @gmgranka on twitter.
“I haven’t had a day job since September of 08! And I ain’t ever going back!”
The economy is crapped out. So is the music business. One could easily be tricked into thinking it’s a bad time to be in the business. EMI almost sold Abbey Road Studios at a discount, and other big three similarly desperate.
What’s good is that now people have to use their brains instead of their chequebooks to “make it”. Acts like Lily Allen all the way to Drake have achieved success with the bargaining power on their side of the table. Getting big on their own dime, and having labels beg to sign them.
Outasight is an enviable position. Through strategic placements of his songs and good old word-of-mouth, he’s gotten over 250k downloads of his debut album Further, and he’s just inked a deal with Warner Music. We could all learn something from him.
How important do you think that fan interaction has been in getting this far?
I personally love interacting with fans who reach out to me, as it’s important in the growing stages to build a relationship with the people who can support and help your career all the way through.
When did you first start to have fans that you didn’t personally recognize?
Over the past few months that has really started to happen, random stuff, you know people coming up to you at events and parties, and even a few times in the street. It’s really flattering, especially knowing that I still have a long way to go, and I certainly appreciate it.
How early in your career was online marketing a part of your marketing campaign?
From the beginning of me taking my career serious online marketing was integral. A few years ago the dream started with a MySpace page and a couple songs. Now more than ever there are a million (free) mediums to try and expose your music to new people all over the world, and I definitely took advantage of that from the get-go.
I first heard your music as the closing music on a high subscription YouTube channel called BreakingNYC. How did that come about?
Ray reached out to me through a public email saying that he has been a fan and would like to use some of my music. I was unfamiliar with his work and a little confused at first, but the exposure has been incredible… He has a loyal and awesome fan base that really took a liking to what I do as well, and I am thankful for such a great exposure opportunity!
How many downloads have you reached on your free album?
As of right now, because of Ray’s help, and also all the major hip hop blogs support, we are over 250,000 downloads of “Further”. It’s almost too good to be true really, every time I see or hear a new number I have to shake my head like, “Did I hear that correctly?” Haha.
If you give away your music for free, where do you expect the money to come from to support yourself?
Artists today release music for free to gain fans and exposure, and if your good enough, work hard enough, and get some lucky breaks, you can turn those fans and exposure into a financial gain. It’s a little sacrifice for the big picture.
Where do you expect to be career-wise in 3 years?
Well, I just signed to Warner Bros, so my goals right now are to get my music ready for a mainstream audience and push through to millions of listeners. So in 3 years, maybe a Grammy or 2, sold out shows across the world, and a great fan base that I will always work hard for!
If you weren’t in music what would you do?
Most likely creative writing, with a focus on fiction and short stories.
When were you able to quit your day job?
I haven’t had a day job since September of 08! And I ain’t ever going back!
What would you tell a young musician looking to market him/herself effectively?
I would say first focus on your music. Artists have become better at marketing than music in some instances, and I think that’s the backwards way of going. If your music is solid, and it’s something you continue to work on and get better at, then the ideas for marketing will come because you will know what you want to do. Persistence is also a huge key, stay on it, keep growing, and be honest to your craft and if you’re good, things will happen…
Check out Outasight here: http://www.myspace.com/iamoutasight Follow Outasite on Twitter @imOutasight
Posted in Interview, Music | No Comments »
Wednesday, February 3rd, 2010
This is a guest post from Geoffrey Granka of Fresh Produce Productions. Find him online at www.freshaudio.ca and @gmgranka on twitter.
I’m a pretty big Sloan fan. In Canada at least, they’ve garnered their fair amount of respect. By pure chance, I happened to run into Nick DeToro, who co-produced their last two (and most impressive in a long while) albums, a month or so ago. We talked geek for a bit, before I realized it might be interesting to the readers of AGZ.
After finishing Never Hear the End of It and Parallel Play for Sloan, Nick is now working on Luke Doucet’s (an ex-guitar player for Sarah McLachlan) new album. Nick’s stuff sounds like that magical mix between off-the-cuff playing and all the mics just being in the right place at the right time. Feed back and room tone abound. Tonally, I see a similarity between rock production style and the live-off-the-floor style in Let It Be. Regardless what you compare it to, it isn’t commonplace in today’s world of cookie-cutter albums. I asked Nick a handful of questions about what he’s been up to lately.
How did the Sloan gig come about?
I’m am a live sound engineer as well. I had been mixing Sloan for a couple of years at the time. For fun on the road Chris (Murphy) would let me play producer and make suggestions about how we should record a song that he was working on.. I guess he trusted me enough to help him work on some demos. He used me to help him flesh out some ideas at their rehearsal space…we set up a Logic/MOTU rig…and recorded some demos. He liked what was going on and decided to suggest to the rest of the band that I record Sloan’s next record at their space. I guess the rest of the guys liked the idea, because that’s how we recorded “Never Hear The End Of It“.
What had you worked on prior to it?
All indie records before that…although one reggae record I worked on got a Juno nom[ination] and my own stuff… of course.
How did you learn the ropes? Did you go to a recording college?
I did go to a particular recording school in 1992 (ish). There was a severe recession at the time and not a lot of recording work for someone with no experience (other than your own demos). There was however, live work which consisted mostly of pushing gear. So that’s how I started. Waited for a chance to mix some live shows and continued to record with friends bands. Eventually someone let me mix a show and worked my way up from there. Many many challenging club shows later Gordie Johnson gave me a shot at mixing a few Big Sugar shows (I was doing monitors for them at the time) and that’s when I made a step up to mixing recording act level artists. Sloan came after that and I’ve stuck with them since (other notables that I’ve toured with are The Trews, Tom Cochrane, Bedouin Soundclash, The Watchmen)….and now here I am playing many many challenging club shows!!…but I also get to play around in arenas and stadiums from time to time… and make records with some great bands.
What’s your go-to recording set-up like?
I’m working on that… just bought a Symphony Rig. I’m using it for the new Luke Doucet record. I’ll have to report back on how it worked out.
Mostly I like to record through Great River, API and Neve pres..with some decent eq’s available… and I like to mix through a console with lots of channels and good character comps and good eq’s.
How important is equipment in getting a good sounding record?
It’s important… I would characterize it more like the three main elements are all important: the song, the delivery (and arrangement) and the production (which is partially gear….more how you use the gear).
All three have to be working.
Do you have any one particular piece of gear that you use all the time?
No, but you use what’s around. And there’s always a [Shure SM]57 around.
Is there one particular piece of gear you’re really lusting for?
Yeah…A vintage Neve console that is in perfect working condition, that doesn’t cost me anything, is shipped to and set up in my non existent fabulous studio that never has to be maintained and uses the sun as a power source.
Seriously…I’m fickle and it changes all the time.
What do you consider before deciding if you’re going to work on an album?
Since you are going to (or should be) completely immersed in fifteen or so songs for months…I think it should be music you are able to live with for a while..otherwise I think you are doing the music a disservice…I’m not talking good or bad (I like plenty of “bad” music)…I just mean something appropriate to your strengths..you gotta be able to bring something to the table.
Any dream gigs?
Sure…recording Frank Sinatra..recording Queen with George Michael singing… playing drums in Led Zeppelin.
What are you working on right now? Where are you doing it?
The new Luke Doucet record. We just finished last minute Bed Tracks the other day and we’re mixing it next week.
It’s being done in three places…most of the recording was done at “The Lincoln” in Liberty Village, last minute overdubs (and bed tracks!) at “The Woodshed” in Greektown and mixing at “The Rogue” in Trinity Bellwoods….all very fun places to work.
What’s your favourite part about your job?
When the band is rockin’.
Geoffrey Granka
Fresh Produce Productions
www.freshaudio.ca
@gmgranka
Posted in Interview, Recording, Techniques | 3 Comments »
Tuesday, July 8th, 2008
I just picked my Tape Op book from the post office, let me take this opportunity to say it is AWESOME! And I’ve only just looked at the pictures so far.
Interviews and Articles include: Abbey Road, Butch Vig, Jack Endino, Jim Dickinson, Jim O’Rourke, Calexico, Joe Chiccarelli, Jon Brion, Dave Fridmann, Mayo Thompson, Tchad Blake, Andy Partridge of XTC, Ani DiFranco, Death Cab for Cutie, DJ Shadow, Fugazi, Wayne Coyne of The Flaming Lips, Mercury Rev, The Go-Betweens, Toe Rag, Ween, Building Mics and Recording Drums.
Get yours from Tonevendor.com for only $24.99
Tape Op Magazine has the lowest signal-to-noise ratio of any recording magazine, and if you live in the states you have no excuse for not reading Tape Op, it’s a FREE subscription!
www.TapeOp.com
Posted in Gear, Interview, Mixing, New Product Announcement, Recording, Techniques | No Comments »
Monday, February 4th, 2008
Need something new to listen to, something that won’t rot your brain like heavy metal? Check out EM Cast.
This month’s Electronic Musician Podcast features part of an interview with Charles Dye. Mix engineer Charles Dye talks shop, and plays and analyzes an example of his work. Part two of the interview will be posted on Feb. 15 2008.
There are currently 24 EM Casts, which run twice a month on the 1st and 15th. Other great interviews in the series are Bob Power, Phil Ramone, and Bob Katz.
If podcasts aren’t your thing, head on over to EMtv where right now there is a series of videos interviewing Metalocalypse composer/co-creator Brendon Small
Posted in Interview, Tutorial, Video | No Comments »
Monday, October 1st, 2007
I just found these. Joe Chiccarelli and Mike Clink sit down and discuss various aspects of producing and engineering.
AES Producers and Engineers Wing Videos
Posted in Interview, Music | No Comments »
Sunday, July 29th, 2007
FXpansion has a whole lot of short artist interview on the site. Mostly dealing with how they incorporate FXpansion products like BFD and Guru into their music writing and live perfomances. Some great info here.
FXpansion Artist Profiles
Posted in Interview, Music, Software | No Comments »
