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The History of our Members

What song, album or band/artist did you record or were a part of that received any "popular status" as in, did it get any radio play, a grammy, juno etc.



audiowkstation Tue, 12/17/2002 - 14:25 not know where to start.

First thing I had a hand in was the equalization of the kick drum of Kansas Left Overture. I know this is minor but carry on wayward son does have a memorable sounding kick drum back then and now.

Stepped into the FOH for Peter Frampton and Gary Wright tour. I simply hung out and got to bs with the FOH man and then he had to take a leak (I was there for sound check with my long assed hair and gotee) at age 17 and he let me have the helm. I knew the music back and forward and actually he was busy getting some play with the women so he took many many exits. I basically ran the show. We hit it off and had a damn good time. I did 4 more shows with him. Then got invited to do FOH with 38 special as an assistant and later it just came off that I was loving the gigs and would show up and finally got a gig with "a major tour company" and then I went on to proclaim my spot as a professional trombonist with Buddy Rich, Stan Kenton, and Maynard Furguson. That takes us up to the time when the CD format was at birth and I was responsable for hundreds of transfers from analog to digital. Those were the days. We did have damn good speakers and the early CD did suffer from translation to glass (umatic woes) but it was fun.

I ran into so many major artists during this time curious about the format..I cannot remember them all (like I said we had fun) but Alan Parsons is one of the cats I vibed hardest around.

All the while I was designing loudspeaker systems for companies..especially crossover networks and tweeter design.

Basically...I worked with a lot of live blues and jazz freelance between gigs to keep my engineering chops up and my trombone chops up. In 1990 I did some freelance teaching and consulting and then went on to hook back up with a label in artist development..(cool gig) for 5 years and I got free reign of a lot of things and a nice company car (S500). I worked with a major producer doing advertisements (Willie Tee) and ran a huge facility in New Orleans as chief engineer and we had over 120 advertisements (major) and 43 Albums (minor and semi major) come from that.

Memorable sessions were the Treme Brass Band, Willie Tee doing his daughters album Raquel, also sound services (thanks Mark!) finished it up after we got the boot!(Studio owner had other plans) Rap groups like Lagit, Gregory D, Ruthless J, R&B "sho nuff" Gospel with the Late great Ramond Myles, hanging with James Alexander of the Barkays, working with serious producers such as Rawls, and another cat from Cameo that I forget his name off hand for a few days) cutting 16MM video and 8MM was fun. Burning a lot of SP beta tape and Dash 2920 was happening everyday.

I also was invited to engineer in many studios in New Orleans and I really can call new Orleans my home (if it was not so goddamned dangerous)

I went indie in 1996 and have not really looked back. I still involve myself with Warner bros Jazz Space and Bobs artists when I can.

So many groups would bore you to tears.

I guess you would call me the repair man. I get most of my work fixing others messes.

I missed a lot of talent I have worked with in the just list them all (even if I could remember them all) would require (from me) an in depth perspective of the involvement, of each.

It is just the business and it is never a dull moment.

I am really getting off on the independent talent that is posting tracks on RO.

See this:

(Dead Link Removed)

We have some killer people here and as far as the famous go...

No different than me or you..thay simply played the game and got the break. They all have something in common. Extraordinary talent.

I really do not feel it an advantage at all to work with someone of fame and fortune. They put their pants on and go to the crapper the same way I do. Some are just too cool and fun though.
We learn alot.

anonymous Tue, 12/17/2002 - 19:32

Well, I'm sure this isn't considered big in the 'industry' but I was the producer and engineer of American Acoustic Country, the #1 syndicated bluegrass radio show in the world, for 3 years. Sure it's only a weekly 1-hour bluegrass show but we were on 260 stations across the US and in Europe. I also wrote and hosted 5 shows.


BROOMFILLER Tue, 12/17/2002 - 19:39

hey there,...well my band BROOMFILLER has released our full length album called "Watching the girls go bi" in July 2002.

the song that we've had most radio success is our first single called "Decide Inside".

if you want to hear it, and some of our other tunes from the new album, please feel free to check them out here:

let me know what you all think ok?


richard c/o BROOMFILLER


anonymous Tue, 12/17/2002 - 20:16

Scritti Politti - "Cupid and Psyche 85" Member, Co-Producer, progamming.

Matthew Sweet - "Girlfriend", "In Reverse" - Produced and Played Drums.

Information Society - "INFORMATION SOCIETY", "Hack" - Produced, Engineered and programming.

Lou Reed - "New York" - Produced, Engineered and played drums.

Lloy Cole - "X", Don't Get weird on me - Produced, Played drums and programmed.

VAST - "V.A.S.T." - Produced, Engineered, Played drums and Programmed.

Vitamin C - Produced, Engineered and programmed two cuts on first disk.

Taxi Ride - "Garage Mahal" (WB-Australia)Produced, Engineered and programming.

Also programming and or editing - KORN "Untouchables", Kraftwerk "Electric Cafe", Ice Cube "War and Peace" 1 & 2, Mindless Self Indulgence "Tight".

anonymous Tue, 12/17/2002 - 20:50

I had the fortune to be noticed after a small spot on TV as the person to make some props for a Crowded House video"Private Universe" and made some artistic instruments that didn't actually work but some of them kinda did so Neil suggested we make some someday that actually did.I got hold of him later and made some stuff which featured on a track on an album with his brother Tim"the Finn Brothers"but I've never heard it.We argued over cash payments and the thing ended acrimoniously.

anonymous Tue, 12/17/2002 - 23:42

Up Here in the 'Gospel" Capital, Detroit, MI

I Recorded 80% of the album "Commissioned - Times and Seasons"

Mixed the song on Wow Gospel 2002 "Home" by Deitrik Haddon. Went Gold - Cool 1st One

Smaller scale -

Mixed the album Tears to Cheers - Dunamis Outreach Ministries. They managed to get quite a bit of airplay on CCM and Gospel stations in 2001. Not sure of total sales.

Currently working on a project under my own indie label. I expect big things from this.

Bryan Giles
Sound Engineer
Recording Truck Owner
??? Producer ??? U B the judge.

anonymous Wed, 12/18/2002 - 01:52

Hi, Im just finding my feet in the world of fame and fortune. I ain't really done that much that would be known.

Last year I worked very closley with James Eller (ex bass player for, The the / Julian cope / The pretenders) on an album called "Roaming" by Liz horsman. Liz Is married to Mike spencer (ex , definition of sound / Producer of "Spinning around" by Kylie Minogue.Mike also over saw the production in it's final stages from his studio in the roundhouse.

Thats all really!

Check out Bill roberts ! I love history like that !

If you would like to hear my noises>

Kristian's web site !

anonymous Wed, 12/18/2002 - 02:57

What did I record? more than 750 bands :D

Some fame got a band named "The Gathering", I did their debut "Always" with an old Fostex B16 and a couple of MD421's. :eek:

Also recorded the first album of a band by the name of "Voyage", they are famous now, having a platinum album and the band's name now is "Within Temptation".

Peace, Han

anonymous Wed, 12/18/2002 - 05:51

I was an engineer in the late '70's & early '80s in a few New York City studios. None of the albums I worked won any awards, but I worked with a wide variety of talented musicians, artists & bands.

I did engineering work on Aretha Franklin's "La Diva" album (produced by Van McCoy just before he died). I worked with KISS on "The Elder". And I did various work on albums for Stephen Bishop, The Go Go's, The Brecker Brothers, Billy Squier and Stuff. I also had the pleasure of working briefly with Roy Thomas Baker who produced a little known album by a guy named Tilly Michaels.

Don Grossinger Wed, 12/18/2002 - 07:23

Oh Boy... where do I start??? I have been very lucky to have been in the right place at the right time for these tunes to come to me & be able to add my little bit to their success.

Biggest thrills?
I absolutely love hearing the Venga Boys :"We Like To Party" at Yankee Stadium during a rally. I also hear it on TV at other sports stadiums around the country during baseball & NFL games. Same for Darude's "Sandstorm".
To see Real To Reel's :"I Like To Move It" on lots of dance music compilations.
I am told that these releases sold a few copies also & that's gratifying.
I get to work with some of the most popular Dance Music producers. Lots of folks worldwide are able to forget their troubles while out on the dance floor in clubs and that means lots to me.

I have cut for the last 3 Grammy Award winning dance music mixers' own labels (Peter Rauhofer, David Morales & Jr. Vasquez).
Working with Tom Chapin on "Zag Zig", which was nominated for a Grammy as best Kid's Album, was fun.

Here at Europadisk, I have cut singles for Celine Dion, Madonna, & Ghostfaced Killah.

Working as Bob Ludwig's personal production engineer at Masterdisk many years ago was a giant thrill, daily. I got to contribute to so many amaizing projects. I worked on stuff from many of my all-time heros like Bob Dylan; Crosby, Stills, Nash& Young; Lou Reed; Pat Metheny; Joni Mitchell; Joe Jackson; The Grateful Dead; Paul McCartney; Tony Bennett; REM and so forth....

Working with Joe Gastwirt at the start of my career, as his assistant, with Gil Evans & Teo Macero on 2 Miles Davis albums.

My son thinks it's really cool that I worked on They Might Be Giant's album "Flood", one of his favorites.

I do work now for lots of independent labels. It's a great thing when one of them hits it big. The band "Bloodhound Gang" & Whitestone Records "Rock It" by Boobikaw & The Wild Younginz (on the Billboard hip hop charts for 20 weeks) come to mind.

I do the mastering for listener supported radio station WFUV-FM here in NY. They do a yearly compilation of tracks recorded in their studios as a members bonus CD. Artists have included Willie Nelson, Los Lobos, Loudon Wainright III, David Bromberg, Alajondro Escovito and many more. Those tracks all get airplay, often.

I feel that every one of the projects that I work on each day has the potential to be a hit. Also, because so many of these projects are the work of independent artists or smaller labels, it is great to see them prosper in this tough, competitive world enough to continue to come back again & again to do more work on another release.

anonymous Wed, 12/18/2002 - 10:06

My band Cloudmachine is doing really well!
I produced/engineered the album in my homestudio and played drums,percussion,and some keys on it.
The first single Circus Animals got a lot of airplay on Radio 3,the main popular radiostation in Holland,album's just finished and we're talking to several recordcompanies now,album will be out in february 2003!!!!

KurtFoster Wed, 12/18/2002 - 11:39

My main claim to fame is recording and producing "Brownie McGhee's" final record for
Demon /Westside Records. In Europe, the record is titled "The Last Great Blues Hero" on Demon. In the USA it has been released as "Omega" on Westside. It is available at and may be ordered at any Tower/ Virgin Records store worldwide. I also recorded, produced and mixed several records for cult following blues guitarist, Kenny "Blue" Ray, including "Git It' and "In All Of My Life" both available from JSP Records, also available at and Tower /Virgin Records, worldwide. Also available is "A Day In The Life Of A Bluesman" by Jackie Payne, produced by Kenny Ray, Jackie Payne and myself. This too is available at and Tower/ Virgin on JSP Records. This is my favorite of the bunch. Jackie is a phenomenal vocalist and was a pleasure to work for. In addition I produced, played on and recorded several records for Jeff Larson, that were very well recived in Netherlands and Belgum on Embryo Arts / It Stinks! Records. These include "Redheads and Woodpeckers", "Upper Story Landing" "Another Slight Addiction." And "Beggars".

I was born in 1953 and I grew up in the San Francisco Bay Area. When I was six years old, I told my parents I wanted a piano, so they bought me a guitar. :D I learned to pay some folk songs and my Dad took me to a Kingston Trio concert in San Francisco where he snuck me backstage and I was able to meet them! They heard my rendition of "Worried Man Blues" and asked me to go onstage and perform with them but I declined saying "Maybe when I get a little better." I grew tired of practicing so I quit my guitar lessons and let it lie for a while until...."THE BEATLES!" Happened.. Started playing again and never stopped. In the seventies I got a job as a stagehand for "Shuberts Sound" in Oregon, and worked shows for Buck Owens, Paul Williams, Helen Reddy, Jim Nabors and Tony Orlando to name a few. This was my first venture into pro audio and I was hooked. In the mid Eighties, I returned to the San Francisco Bay Area and formed a popular country rock band that did house band duties at South Bay hotspot watering holes "The Saddle Rack" and "Cowtown". We also did a season at the theme park, "Great America". In 1994, I opened a 2000 sq.ft. commercial recording studio that became a moderate success and afforded me the opportunity to meet and work with many fine players including members of "The Tubes", "Doobie Brothers" and "Huey Lewis and The News". The studio venture was successful enough that I have been able to retire at age 49. I still continue to search out talent and record at my own leisure. I have been married to the same woman for 23 years. My wife has been my musical partner in all the bands I have been in since I met her. She plays a mean bass guitar! I feel very fortunate to have been in the right places at the right times. I have no complaints. …… Fats

audiokid Wed, 12/18/2002 - 12:24

Originally posted by e-cue:
And yet somehow audiokid didn't answer this question himself...

I did answer it e-cue, :)

I began learning how build web pages and promote myself online. Web design and marketing was my new journey. I bought myself a pro tools rig and started doing vinyl record restoration. My web site took off and I started making money in the forest lol. I'm very blessed.

In 2000 I produced and arranged some songs for Marcel Gagnon, a gifted aboriginal singer songwriter. The album climbed to number 7 in the Aboriginal Music Awards for Canada. I'm very proud of that and that's basically my story.

Cheers! :D


And yet somehow e-cue didn't answer this question himself... ;)

anonymous Wed, 12/18/2002 - 16:20

While I don't neccesarily consider it my best work (I like my stuff with Jon Hassell), nonetheless the one I can't seem to escape is the first released Sheryl Crow album, which was named for my band the Tuesday Night Music Club (currently a trio). I played bass, guitar, co-wrote some songs (as did we all - it was a co-writing orgy). And from the point of view of some observers I would be considered a co-producer, but that would really only be in the current sense of the word in which everybody you meet is a producer, from the head of a record company who was gonna be an engineer to the guy bagging your groceries who knows someone who can speak semi-rhythmically into a Beta 58 over a sampled 808 rhythym track on a used laptop.

Bill called me the minister of art on the record, the nudge responsible for pissing and moaning when things got too pat, but I'd call it kibbitzing, on the mix, the guitar overdubs, stuff like that. But most importantly a guy like Bill, who is real producer (remember that the next dozen times you meet someone claiming to be one) needs no help, just occasional conversation about where we were heading to clear his head. The album sold in the zillions, won Grammies I forget which, and is no doubt headed for a fine legacy of car and yogurt commercials. I hope never to repeat such a success, but it was a fabulous lesson in human behavior in the era of complete corporate control of everything and I wouldn't give up all that experience for the world.

I would also like to register that I'm a big Fred Maher fan and I wish he'd call me to come play bass with him when he's on drums.


anonymous Wed, 12/18/2002 - 18:18

Of the music I've recorded, none of it has gone anywhere but local, and only one or two times on the radio. But other stuff, I did location and post audio for a VISA commercial shown on Northwest Airlines; did sound effects and dialog editing for a national educational material publisher; editing an audio newsletter for an international computer company, and other stuff like that.
Though to just name drop, I did work with the bass player from the Doobie Brothers on some session work for some local stuff that didn't go anywhere.

But as others have said, I've also worked with some outrageously talented musicans that aren't famous, and never will be, but should.

Justin T. Clausen

anonymous Wed, 12/18/2002 - 22:36

Well, i am a singer/songwriter first i guess....this recording thing is new but i like has an organic process that i like...things happen out of effort, idea and name is Mark James Fortin...i've had a few singles in canada....two that were national in the top 100 cancon charts..(that really means about the top 10,000 really)...i didn't know what a reverb was until a couple of years ago ...i was originally in toronto and i am now in vancouver and i am writing and producing my own material, some commercial stuff....i am one of the creators and hosts of Just Singin Round a great songwriter showcase in vancouver that gives local singer/songwriters the opportunity to perform in a great venue(200+ people audience) and we also raise money for local charities and to date we have raised over $100,000 for them (high risk youth, aids hospices, cancer ward, etc)...i cowrote, arranged and assisted on Place of Standing by Yvonne Mcskimming (top 100 on MP3 for awhile) and i am working with some wonderfully talented people here in vancouver......i am also the coordinator of an alternate school in north vancouver that provides a day program for high risk youth who have been unsuccessful in mainstream schools...i am now getting the students to take the profanity out of their cd's using pro tools free and doing some multi-media stuff with them on i-movie and protools free......i have a great life, i have my friends, my lovely wife, a dweezil zygote coming in 7 months and's **####&&(_ great...we are lucky people to be surrounded by something that truly is part of everything...and i am honored to be reading your words and sharing your experience fellow musicians...all the best for the season...mark

droog Sat, 12/21/2002 - 12:37

wow, john, you are my hero, "the real thing" and lobby lloyde!!!

you might be able to enlighten me on lobby's recording guitar setup (the man is my greatest influence, next to jimi)

i understand that the tone is in the fingers (and the pick, in his case), but, i'm still interested, whether he plugged straight in, turned it up to 11, what amp/mike/preamp was used?

did you meet george guitar?

imo, he pioneered the straight up rock sound that shook the world, via the likes ac/dc etc, and for being involved in the process, i salute you

btw, the other tracks you recorded didn't suck either

Bob Olhsson Sun, 12/22/2002 - 06:58

My first paying job was in 1965 at Motown Records in Detroit. Within a couple months I was a 20 year old staring at a Billboard singles chart where I had worked on everything in the top ten but three Beatles records. By the time I quit in 1972, I was one of the only two people to have held every recording engineering job in the company.

I moved to San Francisco thoroughly enjoying being out from under the pressure of high profile music industry deadlines. Keeping a finger in music, I worked on many broadcasts of the top jazz, rock, Gospel and classical artists who performed in the San Francisco area during the mid 1970s. It was an amazing music scene that was as fulfilling musically as Motown had been in terms of production. Once again the list of names was staggering simply because I had been in the right place at the right time with the right skills and attitude.

In addition to broadcasts, I started helping artists and producers build project studios and then did engineering for them. One of the first was Music From the Hearts of Space, a radio program which later became a production company and a label devoted to spacey electronic music. (This is musically about as far away from a dance single as one could get and I still do all of their mastering.) On the rock side I tried my hand at production during a ten year relationship with Quicksilver Messenger Service. By the end of the '80s I had worked in many of the leading studios on the west coast and attended mastering sessions with most of the top people in the country.

My project studio experience led to creating a home studio for an Academy Award winning sound designer which in turn led to the two of us pioneering the use of Digidesign workstations for motion picture post production and surround mixing.

By 2001 most of my work had become CD mastering, the cost of living had gone through the roof and I no longer found the local music scene very inspiring. Our first visit to Nashville really brought home how much the San Francisco music scene had declined since the mid 1970s. We moved to Nashville in March of 2001 and have been having the time of our lives musically. The biggest surprise has been that I've come full circle and find myself mastering pop singles again in addition to a wide variety of independent projects.

anonymous Mon, 12/23/2002 - 17:53

I got my first official job in music recording in 1968 at MasterSound Studios in Atlanta. The 15 input console was built by Jeep Harned himself (Founder of MCI audio equipment). It was full of ECC88's and EF86's and tons of loud relays and Utrad audio transformers. It had three main output buses, two effects sends and a mixture of Fairchild and MCI three band passive equalizers and huge old Langevin rotary faders that constantly needed cleaning. We recorded to two 1/2" three track Ampex 351 rack mounted recorders and monitored using three Altec 844a's. (got a bit of ringing and hearing loss in my right ear because of those nasty things!) Needless to say when we got 4 and 8 track machines, it was like jumping into the jet age from stone knives and bearskins. Most of the mixes were to Ampex 350 mono machines but occasionally we'd do a simul-mix to a 350 2-track for stereo product. Anyway, after six months watching and assisting Lou Bradley and the owner Bob Richardson, running errands, sweeping floors, making dubs and making "morning after" reference acetates, I was allowed to engineer my first real (for release) music session. The producer was Buddy Buie and the artist was Dennis Yost and the Classic IV. I was thrown "head first" into an all nighter because their regular engineer (Lou Bradley) came down with the flu and couldn't get out of bed. Well, it was "all down hill from there" as it's said. I had the good fortune to work with all the Lowery publishing Company artists and writers including Joe South, Billy Joe Royal, Tommy Roe, Rick Carty, Freddy Weller, Ray Whitley, Mike Shapiro, The Tams, early versions of the Atlanta Rhythm Section known as the Candymen, Royal Blue and several other names I can't recall at the moment. Because of it's association with Lowery Publishing, MasterSound Studio (AKA; "The little studio in the school house") had the good fortune to attract many other artists from around the country and even a few British artists touring the states as well. So, I was able to work with a few "greats" like James Brown, Lloyd Price, The Swingin Medallions, Donovan, The Pointer Sisters, Fredrick Knight and Lou Christie and others. After leaving MasterSound in 72 to work freelance I again had the good fortune to record some pretty big names like Lynrd Sknyrd with Tom Dowd producing for their "Street Survivors" album at Studio One in Atlanta. (The one barely completed before the plane crash.) Also along the way as a freelancer I had the pleasure of working with the Muscle Shoals crew and writers and several of Nashville's more noteworthy producers and players as well on various projects for several of the major labels. Two of the last single and album projects I worked on before changing careers was one for CBS with Johnny Nash ("Wondeful World") and one for Polydor working with Alicia Bridges that included the single "I love the Nightlife". Nothing like going out with (at least what I consider) one of those "classic" hits. (even if it was disco...) In 77 I got an opportunity to use my voice talent on the other side of the glass (from an even earlier brief life in radio before engineering) and have enjoyed a very sucessful, and now worldwide, commercial VO career since. I must say however, I enjoyed engineering (and even producing a few as well) very much. But, as we all know who've done this for any length of time, engineering isn't always the most profitable of career choices no matter who you might have had the honor of working with or how good you are. You actually just have to love it sometimes. You're only as good as your last hit, right? Thanks for putting this page up and letting us "old timers" gab. Pete Turbiville.

audiowkstation Mon, 12/23/2002 - 19:16

Pete, that is badass!

Tears fall from my eyes.

I always loved the sonics of "I Love the nightlife" and actually compiled it to Cd with the full 12" in mind..cueing and comparing using a 681EEE stanton and a M91ED for the other reference with a great phono pre (that had accurate RIAA EQ)

Your other accomplishments are wonderful.

Cudos to those Altec tympanic meat eaters. Try the Jensen 12" coax with plastic horn coax (compression coax circa1967) if you really want to be killed). Frankenstein (Edg.Winter) in a 1964 Plymouth Valiant(mine)with a tenna 8 track sporting 12 watts with a pair of those is still the loudest thing I have ever heard. I started this loud car stereo stuff..I regret it evermore.

Now tell me Pete, Can I get a couple of VO's from you to use on my site? I will be happy to compensate you. Just do a Private message and we can exchange by .wav. Isn't computers wonderful tools? Snale mail also works (LOL)

We are also in the company of Bob Olhsson

That cat has been around the block a many times as well.

Thank you Pete!

Alécio Costa Wed, 12/25/2002 - 09:05

Now...your small brother from Brazil...
Since childhood I was not a big fan of toys and child music. LOL
I remember at the age of 3 putting old vinyl records into pencils, making them roll and singing any melody that came to mind.
Family started getting worried. where did this child learn that?
At the age of 5 birthday gift was Nazareth, Abba, Bread´s vinyl releases.
At 8 I was a kind of premature DJ at teenage/adult parties, playing from BTO to Boney M.
A few years later was singing at children´s choir and persenting an extremelly accurate voice.

In 1985 the first garage band. The original name had to be changed, it was AIDS!!!! LOL

in 1986 LINHA DIRETA did lots of gigs, stopped in 1991, mostly progressive rock and pop.

after graduation at electric engineering, master in power electronics, stdying/improving vocal and electric guitar skills, teaching english and basic music, started band number 2, called PROJETO VEGA. It became a hige succes in the south of Barzil, lots of TV shows and so, almost a contract but the rlationship inside the group was awful. Almost married to one of the backing vocals, but things exploded in 1995.
It was October 95, I went to the USa, kostly for rethinking life and for some quick research, I came back and started my very project recording studio.
Originally aiming a agencies I endeded up changing the focuses to band and artist reording/production.
One of the first releases became a known album, which featured a great brazilian actress, REGINA DUARTE. The CD was CHILD PARADISE, where I did all the programming, arranging, sequence and some backing vocals either. The second album, became a major succes, for a gospel group named CLAVE DE FÉ. They received lots of airplay and TV appearances, even PAPA JP II had a copy of their CD. I endedp up becoming their show musical director besides recording/editing, mixing and arranging their nice stuff.

People started paying attention to some of the nice stuf I was doing and endedp up receiving someAwards and being mentioned at MÚSUICA & TECNOLOGIA MAGAZINE ( our Brazilian Mix Magazine).
Following, I started teaching a good course named INTRODUCTION TO DIGITAL RECORDING SYSTEMS AND UPGRADE AT MUSICAL TECHNOLOGY, with lots of students, musicians and engineers from every part of the country.
Other albums were released with plenty success, like CAMERATA FLORIANÓPOLIS, whose fourth CD was released last week, considered one of the TOp Camerata Orchestras of Brazil. Some friends on here listened to some samples of it. It was an honor to receive some nice comments and tips from very pro brothers like e-cue, John Stephan and Ronny MOrris.
Alo, I endedep up becoming a producer of a musical style that originally I was not a big fan of: Reggae.
One intesrting thing was that in several situations we ( me and my 2 other assistants) became musicians or somwhow involved with the release shows of these people. Very nice experience.
Some rock bands and two releases for majors, one indication for SHARP AWARDS ( bazilian "grammy").

It is 2002 and it is time to go back to band thing. ELEKTRA is the new band, performing mostly 80´s and of course, my compositions. My biggest dream was to release a self album sung in english, with influences of Toto, Lisa Stansfield, Tears For Feras, Michael Jackson.

back to 1995, in Rio de Janeiro, BMG Brazil did not want to release my Cd due to: 1)
lack of brazilian market for that type of song ( Lambada, Axé and Pagode were the shit here )
20 although being able to speak and write english quite well, their producer/executive colcluded for himself that USa consumers would not buy my album due to lack of "accent".

I just could not live being far from Music. The focus changed as from being produced to bing the producer".

some guys have listened to my most recent stuff, it is kind of Brazilian Michael Jackson/George Michael with some Lisa Stansfield , very 80´s.

Bill, Joe, Brad, Ronny have also listend to this stuff. Hope to end up and release someday!


droog Wed, 12/25/2002 - 14:12

john wrote:

"Max - lobby was definitely a turn it up to 11 guy. He had a big 300watt valve power amp and rows of open backed cabinets with 12s. "

thanx for the info, john, much appreciated

keep up the good work

and thanx to all the other great people on this board, famous or not, this is the best audio group, after all

anonymous Fri, 12/27/2002 - 17:18

Two weeks after learning to play drums in '64 I made my first $25. We did Marvin Gaye, Beatles, Sam and Dave stuff, and recorded our 1st 45 at Nola Penthose Studios, live to 2 track. Nola was at the top of the Steinway building in NYC with a beautiful big room that two B-3's were easily lost in. Next time we recorded in NYC it was at Electric Ladyland with Eddie Kramer. Five Dollar Shoes was the band's name .. great band, lousy singer. There was 250,000 spent making that album in 1971 .. too bad we had the singer...
Then I bought a boat yard, sold boats from 25-61' and met my friend Sami who worked at Atlantic and had a studio at his house .. first 8 track 1" Scully, then we rebuilt the studio to 2" 24 track MCI w/MCI console. Average White Band, Manhattan Transfer, Rascals, and more all good friends of the studio. I learned to change tape, and do setup work, clean cables and do legwork .. all great times. Now, with the help of Sami I have my own studio, built and designed by us. I started it to record my two sons who play (far better than I ever did too!), but we had so many people ask to come and record that I'm now also concentrating on local talent here in Pa. The studio was opened to the public last year, and we've had talent from NYC find their way down here already. Without exception everyone that comes has had what they call their "most relaxed, fun and best session ever.." here. One top NYC engineer that came down said " how much business do you want?" "If they have desire and talent .. bring them in. If they need to punch in all the time and pray for pitch correction, leave 'em home" was my reply!

Pez Sat, 12/28/2002 - 18:05

mmmm..... Popular status- let me think of the most important tune I've recorded...
I think it would have to be when I worked as recording engineer and songwriter. It was with a very high profile company (my family). I was 10 or 11 years old and my older brother had this reel to reel tape recorder. He had recorded his own "muscle man Fred" radio show and we were relegated to do sound effects and all that boring stuff. Suddenly he stuck the mic up in my face and I did an imitation of an old lady that brought the family into hysterics. I was hooked. My other brother Steve and I wrote a song called "Baby you know you need me". It was a simple two or three chord thing with deep insightful lyrics lol. It was a popular neighborhood hit and changed my life forever. No matter how much money is involved there is nothing that can compare to that 1st experience. Kind of like one's first kiss I guess.

anonymous Sun, 12/29/2002 - 05:14

OK- Well, here in the woods you don't get to rub elbows with many music icons or rock stars, but I've been pretty lucky. Almost by pure chance I played drums on Freddy Fender's "Wasted Days and Wasted Nights". Not exactly what I wanted to be known for but a gold record is a gold record, right? Later, in the 80's I was credited with preproduction credits for the "Headhunter" and "Blitz" albums by KROKUS on Arista. I have produced and/or engineered so many albums that no one has ever heard of, but nevertheless I am proud of my involvements with the artists. many of them "could have been contenders" only due to our remote location here in the Ozarks, sadly many of them will never see the light of day. That does not diminish their worth IMHO. I own and operate my own 24-track facility here in Arkansas. The air is clean, the water is pure, and the vibe is unbeatable. It's a great place to raise my 5 year old son in the same way and location I was raised by my parents. Stardom? I don't crave it anymore. The music business sucks so bad these days I don't even want to be a party to the declination of music. Besides, I'm still where I would choose to be if I'd have "made it". What more could one ask for?

anonymous Sun, 12/29/2002 - 06:06

Bob .. I agree .. despite my having been in NYC where "things were happening", they were not! Name the last big rock band from NYC... now name me a big rock band from NYC....
I'm also out in the country, cows and Amish for neighbors .. I far prefer, since I also have a company my wife and I run, to deal with new talent and the excitment that can exist there. And, it's great to give them a $$ break, and show them that recodring can be fun .. without the producer and label breathing down your neck.
When I lived in Sprinfield, Mo.. I saw more talent there than in all of NYC, but sadly, got getting a listen.

Henchman Sun, 12/29/2002 - 11:22

I engineered the 4 Non Blondes Hitsingle "What's Up". And a ssisted on numerous sessions at the Plant, in Sausalito. Among them, Sheila E., Santana, John Lee Hooker, Celine Dion.

Oh, and I produced the demo's for Steve Jenkins (third Eye Blind), that helped get him signed. In fact, it was I who, after dealing with his loser bass player and guitarplayer, told him that unless he found new players, I wasn't interested in doing any more work with him. His bassplayer was a crackhead. I hooked him up with guitar player cadogan, who was playing guitar with anothwer band at the time.