![]() In that time these two interests collided and I decided to start a blog on the things other blogs weren’t writing about in music and wanted to show all the secrets being hidden, since that’s the most punk thing you can do and punk is the closest thing I have to a religion. I harnessed my own production skills and they became so in demand I started my own studio Cannon Found Soundation, which I still run to this day working with hundreds of bands a year. While all that was happening, two other significant parts of the story happened. ![]() He then brought me to work with Ross Robinson (my other favorite producer growing up) and I got to work with The Cure & Limp Bizkit among others under him. In that time, I met Steve Evetts (one of my favorite producers growing up) and got to work with him on great records by The Dillinger Escape Plan, Senses Fail, Saves The Day and Say Anything. Robbins, John Agnello, Brian Mcternan, Kurt Ballou) as well as the coolest bands around seemed to walk in the door every day (Fatboy Slim, Fall Out Boy, LCD Soundsystem, Brand New). Not only did I get to work under Alan’s amazing talent, the best producers in the business were coming by every day (J. My boss at Go Kart was kind enough to give me a recommendation to Alan Douches at West West Side Music, who happens to be the engineer with the most credits in all of music history.Īt West West Side I got to learn how to engineer and master from the best in the business. So I decided to stop doing live sound and working at record labels in order to focus on record production. I was also writing for the esteemed zines of the day like Tape Op, Punk Planet and Maximum RockNRoll. While I love marketing, PR is way too social for me and I preferred talking to creative people instead of cranky zine editors. This was great since it also housed esteemed indie label Go-Kart Records where I ran the record store and did publicity. I then started working at my local punk record store (Let It Rock), which then qualified me to work at Soapbox Records on St. But all of this would happen at night, so I needed a day job. Those jobs gave me enough courage to put on my own concerts, and be crazy enough to think I knew what I was doing enough to start recording local bands. Somewhere in this time I got my first credit on a record singing back up vocals on a song with Joey & Dee Dee Ramone, which I still question if I've ever topped. In time, I started booking shows for the company that booked those clubs and the legendary Coney Island High in NYC. Because of this I started doing live sound at local clubs The Pipeline and Connections. ![]() There I was lucky enough to work for nearly a decade recording acts like The Magnetic Fields, Spoon, The Sea and The Cake, Olivia Tremor Control and a couple hundred others. Two years later, a hilarious and fun guy by the name of Stork liked my mixes and invited me to engineer live performances at the world-renowned freeform radio station WFMU. ![]() When I was barely a teenager I started to get paid for doing live sound at concerts and spoken word events. along with a handful of others.īut that doesn’t explain how I got to do all of that and that's what I'm supposed to explain here. I also host two podcasts, Off The Record and Noise Creators and write articles on the music business for various sites like Alternative Press and Party Smasher Inc. I'm also known for writing the book Get More Fans: The DIY Guide To The New Music Business, which has gone on to be one of the most popular books on the music business or Processing Creativity: The Tools, Practices And Habits Used To Make Music You’re Happy With, a book on how to improve your music by avoiding the pitfalls in music. If a stranger happens to know who I am, they usually know me from being lucky enough to have worked on records in various capacities with bands like The Cure, Animal Collective, The Misfits, The Dillinger Escape Plan, Brand New, Limp Bizkit, Man Overboard, Somos, Basement, NOFX and The Menzingers. Since then I’ve managed to work in nearly every facet of the music business. I somehow got my first work being paid in the music business when I was 15.
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