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A Word on the Studio:
Electracraft is in the heart of Hollywood and embodies so much of what you’d hope to expect in an LA recording studio – belied by the dingy exterior, you’re admitted in, ascend the stairs, and the first thing you notice is the expansive smoking area, “for whatever,” as Hal puts it. Inside is not only an open control center reminiscent of something of which James T. Kirk would approve, not only a large-yet-cozy isolation booth, but also a full kitchen and breakfast table. “Sometimes you’re in here a while,” Hal says. “It’s nice to have.” It was clean, inviting, easy to navigate, secure parking, and rather hugely professional vibes.

A Word on the Engineer/Co-Producer/Accompanist:
Hal Cragin took the bare bones of a demo recording and gave them not only skin, but sinew, muscles, and even an organ. His drum samples are some of the tastiest and liveliest I’ve ever heard, and it’s a very rare exception that I’ll even consider fake drums. #veryhardsell The moment we were settled in Hal showed me what he’d already done to the track, needlessly adding caveats about how we didn’t have to keep anything he did ever, and from that point we worked fairly seamlessly together, volleying thoughtful ideas, feedback, candid opinions, and over-the-top humor. He took exceptional care of both me and the song. Many, many thanks, Hal! To the future!❤

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(This will be the last free download people! You can still listen on soundcloud, but downloads will only be enabled for patrons on the Patreon site!)

A Word on the Accompanist:
Chris Murphy is one of those surprise people in life who mysteriously appear at exactly the right moment and seem to be a complete survival kit of all the things you need. It’s kind of like getting lost in the Rockies and stumbling into the camp of a grizzled mountain man who’s been panning successfully there for years with his mule, griddle, and beat-to-hell coffee pot. Getting the opportunity to work closely with him on his own projects has been rewarding enough, and thanks to his efficient, expert, and excellent work on fiddle, mandolin, bass, percussion, and side-coaching for both me and the engineer, this track is one of my prouder productions. Thanks Murph!!!
http://chrismurphymusic.com/

A Word on the Studio:
Hayloft Studios is typical only in that it packs an amazing amount of tools into one tiny garage space, and you don’t even realize they are there until you think to yourself, “Man, it would be great if I had a tiny accordion…” and there are at least two suddenly within reach, for example. Cartier’s state-of-the-art operation is a no-space-wasted one, and while you never feel crowded at Hayloft, you can be sure that you’ll never be in want, either.
http://www.hayloftstudios.com/HAYLOFT_STUDIOS_2009/Welcome.html

A Word on the Engineer:
I told Josh ‘Cartier’ Cutsinger that I could be a snarky person and he was welcome to use sarcasm with me (sometimes people don’t know). But Cart is also a gentleman and while Chris and I dashed to and fro making noises and changes, he sat quietly and patiently (and productively), keeping his beloved pug in check and acquiescing to all our mad-hat requests, sometimes even before we’d made them. He was a pleasure to work with, was more on-time than I was, and while often agreeing with me on certain points, was by no means an annoying “yes-man.” A pleasure, Cartier!!!
http://www.hayloftstudios.com/HAYLOFT_STUDIOS_2009/BIO.html

A Word on the Good-Vibes Dog:
Every session should have a listener. Thank you, Mickey.

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So my uncle is a Texas Ranger and he wrote a pretty rad book that only bears mentioning because it inspired the November single.

Recorded with Ed Tree at The Tree House in San Gabriel. Ed’s playing the baritone guitar, I’m playing the regular ol’ guitar and a pile of dead leaves (not at the same time).

A word on the Studio:
Cozy in what seems like it might have been a garage before years of gear, instruments, artwork, jokes, cables, sound insulation, and a veritable mountain of amps situated themselves in a manner so agreeable that you feel you can stretch your legs without knocking anything over, the Tree House lives up to its name. Not because it’s in a tree, but because it boasts lofty ideals while having its roots firmly planted in the ground. Ed’s state of the art equipment has immortalized countless artists much finer than myself, and I feel honored to have set foot there.

A Word on the Engineer/Player:
The first time I saw Ed Tree play was at a minute songwriter festival in the dusty hills of Santa Clarita, and it was also the first time I saw the Tall Men Group perform. In talking with Ed after the show, and discovering he was an engineer, hungry and blind I got his information, little knowing what an artist he was behind the board. When I tried to do some foley in his studio (dropping leaves down a plastic sheet) and wondered why it didn’t sound like anything, he noted that another sound was missing: Wind. Whereupon up he jumped to his library of CDs, procuring one he himself had produced and engineered, and “borrowed” the sound of wind from one of the tracks. (Thank you, David Serby and Carl Byron for your unwitting collaboration…)

I wanted to blog retroactively about Studio 770, because I think what they’re doing is such an interesting and creative way to keep the place afloat even in the dark times of bedroom iPhone recordings.

A Word on the Studio:
If you go to the website you’ll see that they’re a fully-equipped, multi-soundproofed-roomed operation boasting several staff and a house band to boot. Situated in Brea, CA, in what appears to be an old motel converted to office/studio spaces, Studio 770 (based on the address) seems to be thriving. How do they afford this when the rest of the recording studios in the world are struggling to stay relevant alongside the easy, user-friendly, gear-light technology of the digital age? The answer is simple, community-oriented, effective, and fun: Open Mic Night.

A Word on the House Band:
If the above picture isn’t registering, for $20 you can come for the first time and either do a jazz standard, or bring your own chart and trust the (very trustworthy) house band to get the take in 10 minutes (which is all the time you have! And if you prepare well enough, it’s all the time you’ll need). Let them know the tempo, the feel, any kicks, whether you want the bass player to walk or to hang on roots, how many times to run through the form, and how to end the thing, and in ten minutes and for twenty bucks, you have your monthly single, Sarsaparilla, accompanied by the following professional studio players:

Ron Kobayashi – Keys
Sam Montooth – Bass
Isaac Sanchez – Drums

A Word on the Engineer:
Part of the reason I was so interested in this particular studio is because it’s owner and chief engineer is a graduate of the Dick Grove School of Music–the school where my parents met and from which every alum I know has fascinating things to say in regards to their music educations. More to come on Dick Grove in future writings. In the meantime, Shantih Haast, who graduated from the composition and arranging program in 1987, has a long history working in and around studios and in lieu of the looming obsolescence of her business, tried something a little different. (She’s pictured below, but don’t be scared, this was in honor of Halloween. Her real visage is in the frame beside her.)

Big thanks to Troy Ambroff for mixing and mastering on the spot! And Kimberly Lane for coordinating the event, and Alba Tucker for the photography! Studio 770. Keepin’ it floatin’ in the funnest of ways.

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