The Record Producer
Page 10
Chapter 1...
For the love of creativity


We made this deal with Aaron, a hip-hop producer and friend from
Berklee. He was to live at the studio, produce a demo, and then give
us a portion of his signing bonus once a record company had picked
up the demo. Where this seems like a ludicrous deal, at the time
Aaron was the most talented musician that either of us had ever
worked with. He also owned a midi production studio so we saw the
potential of Aaron producing tracks for plethora of local singers that
lacked musicians. Of course, being hypothetical in the first place,
that never happened. Despite the awkward living situation, Aaron
completed his demo (while booking the Real World College tour),
and then moved to New York to shop his demo.

The Acoustics Become an Issue...

It was around the time of Aaron’s departure when the studio began
to develop some unacceptable sounds. Obviously, they were always
present; we had just developed the ears to notice them. We stopped
using our ISO-Booth and only used the tracking room. The mistake
that created this unacceptable sound was in the windows. The
developer had ordered the wrong sizes, and we were so eager to
see the studio complete that we just had him install them. We had
this window to our tracking room that was so huge; its tilt did not
disburse the sound adequately. Eventually, I decided not to produce
anything in our booth. In hindsight, this taught us the importance of
acoustical design.