When I was in the gear biz, back in the early 80s, I used to get stuff at cost from the manufacturers. We'd purchase it through retailers. I've fond memories of driving around beantown w/ my cuz buying up gear he wanted at cost to start his new studio. Mike went on to make national hits. He was one of my first fans ... and told me he went into music because of his impressions of when I played the piano at his house (I was the "cool cousin"). It's life.
Mike died a couple years back from colon cancer. Aimee Mann and Adam Schlesinger (Fountains of Wayne - Mike produced "Stacy's Mom has got it going on") played at his memorial.
Life moves forward, even in covid times.
Thanks so much for your excellent advice. You really helped focus my thoughts on the ear candy in the mix.
That's a great story. I always felt i was too late to the game in the studio world, i missed the golden age, which Mike was able to be a part of, and contribute to in a recognized way.
Having been unable to do studio stuff for a couple years, i started listening to music more casually again. The big difference i notice between big productions and modest ones, is arrangement, and movement / ear candy in the mix. Great mixes seem to "never have a dull moment". While easier said than done i find it something useful, having spent so much time getting the technical things up to snuff, it seems to me to be the "next level".
One time my mentor asked to to approach a new mix by notating the ear candy, arrangement moves, ect first, while the mix was fresh. To be creative first, then get analytical. I thought it was an interesting excercise.
All the best Kevin!
