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My experience working with some of my earliest heroes during the Deadland Ritual sessions with Greg Fidelman was remarkable. It all began when Fidelman approached me to engineer a live tracking gig at Henson Studios (formerly A&M) with legends Geezer Butler, Steve Stevens, and Matt Sorum. 

Being able to work with Geezer Butler and Steve Stevens was nothing short of mind-blowing. In my early teens, I immersed myself in the music of Black Sabbath and Steve Stevens captivated me with his solo work. And of course, Matt Sorum – known for his role in Guns N’ Roses – brought his own unique energy to the session.

Working alongside Greg Fidelman is always a learning experience. He constantly shares invaluable Pro Tools tips and tricks for streamlining studio workflows, pushing me to keep up with his blistering pace.

After securing the sidecar in Studio B, (now boasting a Neve BCM setup)  complemented by Fidelman’s preferred mic pres, (alongside the revered SSL 4000 G+) we were ready to rock! When Geezer, Stevens, and Sorum delved into the music I felt like a teenager again. The performances we captured were breathtaking, sounding release-ready straight from the board.

I vividly recall a moment in one particular tune when Greg and the band debated whether to use a click track or let the band play freely. We experimented with different tempos, frantically jumping around the massive timeline. Eventually, we settled on a tempo, and the band began to track.

Halfway through, I realized with a sinking feeling that I had recorded under the wrong tempo. I was panicking but I knew I had to deal with the mistake. I cornered Greg outside the control room, I’m sure I was sweating and radiating my guilt about my blunder. 

Greg remained calm as I explained what had happened. I admitted that my admiration for these musicians meant that I had never felt so nervous working with a band before. To my relief, Greg handled the situation with good grace.

After that uncomfortable moment, I forced myself to stay focused and ended up learning to navigate unexpected challenges that might arise in the studio environment. It was a valuable lesson in professionalism and the importance of remaining calm under pressure.

Other than my brief almost-disaster, the session progressed smoothly. I walked away with a newfound appreciation for the power of collaboration and the self-control required to overcome setbacks during high-profile, high-pressure sessions. 

Discovering exceptional tools has been a highlight of my year for 2023, and I’m thrilled to share some exciting finds with you. First up is the Alpha DI by JT Amplification – a true gem for any recording enthusiast. The time and meticulous process of selecting the transformer, designing the unit, and providing versatile tonal options reflects the dedication poured into this DI. When it comes to bass, the Alpha DI delivers precisely what I want to hear, offering a gain knob for driving the tube stage and tone switches to sculpt your sound. Explore more about JT Amplification’s Alpha DI for a closer look at this indispensable recording tool.           

https://reverb.com/item/42144898-jt-amplification-alpha-direct-box-standard

Turning our attention to microphones, Austrian Audio has been a game-changer for alternative tom mic placements in drum kits. The Austrian Audio OD5 and Austrian Audio OC7 have been dreams come true, providing effortless placement and stunning sound. However, the real magic happened when I got my hands on the Austrian Audio OC818 – a fantastic choice for capturing overheads, whether accessing the back capsule or not. Austrian Audio is not only advancing capsule design and technology but also offering innovative plugins like PolarPilot and AmbiCreator, solidifying their unique position in the Pro Audio industry. 

For more information about these amazing microphones please visit: https://austrian.audio/microphones/

Now, let’s delve into a crucial yet often overlooked element: the mic stand. During a drum session with Kenny Aronoff at Sunset Sound, I was introduced to the new Tama Ironworks Studio Series Mic Stand, and I instantly geeked out over their brilliance. The weight, locking mechanism, and meticulous design of these stands stood out. Whether you’re meticulously placing an SM57 on a snare or setting up a vintage 251 for vocals, you can trust that the mic will stay securely in place, preventing any mishaps that could damage your recording equipment. Cheers to the often unsung heroes of the studio – the reliable and innovative mic stands by Tama. And considering Tama’s extensive experience in creating drum hardware, who better to design an over-the-top mic stand than them? It’s a testament to their legacy of excellence in the world of audio equipment.

Collaborating with the Deftones proved to be an exhilarating journey. Our acquaintance dated back to my time in Amen, where our connection stemmed from producer Ross Robinson. The genesis of the album “Diamond Eyes” marked a transformative phase with Nick Raskulinecz. The band found themselves entrenched in a string of unfortunate events, notably the tragic accident that left Chi, the Deftones’ bass player, in a coma right in the midst of crafting a record. The project seemed perpetually stalled, compounded by the search for a bass player to fill Chi’s absence.

Nick, however, orchestrated a revival, gathering Frank, Abe, Stephan, Chino, and Sergio Vega from Quicksand to reconvene and set up in a rehearsal studio to start from scratch. Once Nick finalized and the band the arrangements, we set up at the already familiar Pass Recording Studio, harnessing the potential of their Neve 8078 console and having previously experienced  how to make sense of the control room. While Abe, Stephan, Sergio, and Franck effortlessly breezed through the tracking, Chino grappled with lyrical contemplation.

I vividly recall the moment Chino, engrossed in his (back then) iPod, suddenly exclaimed, “Hey, I think I’ve got something.” At Nick’s request, I vacated the room for Chino and him to track in the control room. Two hours later, “Diamond Eyes” materialized in its entirety. It felt as though Chino had conjured the lyrics and melody out of thin air—like pulling a rabbit out of a magic hat—resulting in an explosive revelation for everyone present to experience.

Back in 2006, as my career was just finding its rhythm, I got a call in from none other than the legendary Matt Wallace – the mastermind behind Faith No More and Maroon 5. This time, the adventure was all about diving headfirst into the universe of St. Louis Pop Punk band LUDO, a fresh band with a vibe like no other. Matt had recently started recording at Sound City more often,  as he just set up Studio Deluxe at the SoundCity Center.

Our journey at Sound City, where drum tracking, under the magic touch of Wallace’s trusted engineer Mike Landolt, set the tone. Shifting gears to Studio Deluxe, just a stone’s throw away, we plunged into overdubs. Imagine Moog and percussion/vibraslaps vibes in one room, while  guitars chugged along in another.

LUDO wasn’t your run-of-the-mill rock band. There was an unmistakable coolness, intelligence, and down right hilarious energy about them.Andrew Volpe, the front man, was a storytelling maestro, weaving tales with literary twists and wild reveals. Tim Ferrell, the guitar wizard, sprinkled technical magic with stacks of harmonized lines.

The pace was chaotic, in the best possible way. Multiple sessions, each room buzzing. Tim Convey injected Moog synth goodness, and Matt Palermo spiced things up with shakers and tambourines.

In the midst of all this controlled chaos, I soaked up some serious lessons – attention to detail, juggling multiple sessions for the same track, and the delicate dance of importing session data without accidentally removing something crucial during multiple drive synchronizations.

And that, my friends, is how the wild ride with LUDO unfolded in my early years as a budding engineer in 2006.

If you have not heard LUDO before, check them out extremely creative and fun. Stand out tracks for me off of “You’re Awful, I Love You Album”: “Love Me Dead”, Go Getter Greg”, “Lake Pontchartrain” and 
“In Space”

My connection with Stone Sour and the origins of my freelance engineering journey are intertwined with a history that extends beyond the confines of the studio. Before my tenure at Sound City, I had the privilege of extensively touring with my band AMEN, forming lasting connections with the members of Slipknot.

This pre-existing relationship set the stage for a pivotal moment when producer Nick Raskulinecz (also a Sound City alum) reached out to me. We had just worked together on his production with The Exies. His call invited me to engineer guitar tracks for Stone Sour at Dave Grohl’s 606 studio.Excitedly accepting, I couldn’t help but reflect on the shared history with Slipknot, having toured together on notable occasions such as the MachineHead/Coal Chamber ‘Livin La Vida Loco’ tour and ‘Tattoo the Earth.

Upon arriving at 606, I found myself immersed in the creative process alongside Josh Rand and Jim Root as we worked on overdubbing main rhythm guitars. The familiarity and camaraderie developed over the years, both in the studio and on the road, created a unique dynamic that fueled our collaborative efforts.

The journey continued as we faced challenges during bassoverdubs, where precision in tuning became crucial. While Nick focused on vocal tracks with Corey Taylor, our dedication to achieving the desired sound became evident. Nick’s high standards pushed us to exceed expectations, and his occasional feedback, like “Hey, that sounds pitchy,” became a motivator rather than a hurdle.

Delving into the recording process allowed us to witness the technical skills of Jim Root and Josh as they laid down guitar solos. The band’s enthusiasm, coupled with Nick’s approval, not only marked the success of the project but also opened doors for future opportunities in the dynamic world of freelance engineering.

Beyond the studio accomplishments, the experience with Stone Sour became a reunion with former tour mates from the world of AMEN and Slipknot. The journey from shared stages to collaborative studio sessions created a full-circle moment that deeply aligns with my passion for music and the bonds formed along the way.

For Stone Sour, this record earned Gold certification and achieved Platinum status in 2017. I am Proud of my friends from Slipknot, Jim Root, Corey Taylor, Shawn Economaki as well as Josh Rand and Roy Mayorga

In 2023, Coheed and Cambria marked a monumental celebration of their 2007 masterpiece, “Good Apollo, I’m Burning Star IV, Volume Two: No World for Tomorrow,” with a tour, performing the album in its entirety. They played the illustrious Hollywood Palladium on October 7 and I caught the show. The evening was nothing short of epic, delivering the exceptional performance that fans have come to expect from Coheed.

This remarkable performance reignited a real connection I have with this album. It served as a powerful catalyst, drawing me back into the album’s production and recalling vivid memories of our time in the studio.

In 2007, Coheed and Cambria’s upcoming record was highly anticipated. When producer Nick Raskulinecz extended an invitation to me to join the recording process as engineer, it marked a departure from my routine and continued a new chapter for me after my tenure at Sound City. The band congregated at Cole’s Rehearsal in Hollywood, where I was introduced to Claudio Sanchez, Michael Todd, Travis Stever, and the unexpected addition of Foo Fighters’ drummer, Taylor Hawkins.

The Pass Studio was selected for the recording. It boasted Neve 8078s in both the tracking and mix rooms; a striking contrast to Sound City’s practical ambiance. The unconventional shape of the tracking room, with its soaring ceilings, proved instrumental in capturing pristine and focused drum sounds while maintaining impeccable instrument isolation. Meanwhile in the control room, the louder we turned up the 8078 the more bass frequencies were attenuated. It challenged us to trust our ears at lower volumes.

Nick’s meticulous preproduction laid the groundwork for an exceptional record. The collective musical prowess of the band was extraordinary. Witnessing Claudio’s precision as he flawlessly laid down vocals and guitars was nothing short of enlightening. Michael Todd’s bass mastery was awe-inspiring, effortlessly maneuvering with his fingers. Travis and I often found ourselves immersed in guitar melodies and solos whenever the mixing room was available. His musical dexterity complemented his amiable nature, making the creative process immensely enjoyable.

Taylor played a vital role on “Good Apollo, I’m BurningStar IV, Volume Two: No World for Tomorrow.” When Chris Pennie couldn’t record due to contract issues, Nick tapped Taylor to step in and he brought a whole new vibe. In just three weeks, he nailed the intricate tunes, adding his own magic to each track. His drumming was top-notch, handling the album’s complex beats like the pro that he was. In only three weeks, he seamlessly assimilated Coheed and Cambria’s intricate compositions and his adaptability and effortless execution were truly remarkable.

It was great to reconnect with the band at their October 7^thshow and to hear this amazing album live again. To date, the 2007 recording session with Coheed and Cambria remains one of the most artistically and technically satisfying projects I’ve ever worked on. I’m still hoping they will make it out the west coast to do a new record again.

All above images taken from Youtube Video “Coheed and Cambria – The Making Of No World For Tomorrow”