Mitch Gallagher Interview Part 2:"The moral of the story - at least for this kind of record - is to get great musicians and then turn them loose to play..."
With Mitch Gallagher about his music, home studio, gear and everything related to the recording sessions and the release of his latest EP entitled Foundation...
Today I invite you to the second part of the interview with Mitch Gallagher. A man of many activities.
A man who devoted his life to music... and today there will be a lot about music, because we will talk about his latest EP entitled Foundation. I'll ask Mitch about the process of making songs for this album. We will talk about the details of the recording sessions... We will also visit his home studio and check what equipment he uses for daily basis.
There will be plenty of details and information that you won't read anywhere else. So, If you were interested in the first part of the interview, there is a great chance that the second part will seem even more interesting to you...
If you are one of those readers who start their adventure with Mitch Gallagher right now, stay with us and necessarily read this interview. I guarantee that you will learn many interesting things that will help you during your private adventure with your own music...
Adrian Lucas Witaszczyk: Tell me more about your latest EP. Can you tell about each of the songs? How was the material created?
Mitch Gallagher: Thank you for asking. My new EP is called Foundation. It’s a collection of five instrumental jazz/blues songs. I wanted to make a very organic, natural-sounding recording, like a live band would do. I’ve been writing music for so long, and had always tried to do everything myself. Unfortunately, I’m also a bit of perfectionist, so that meant that I rarely actually finished anything or let anyone hear it! But what happened is, I heard that a group of wonderful musicians were going to be recording at Sweetwater Studios here in Fort Wayne: Keith Carlock (drums), Michael Whittaker (keyboards), and Adam Nitti (bass). I thought, what if I asked them to come in a day early and maybe record a few songs with me? They agreed to do it, which meant I had to get to work finishing up some songs! I composed day and night, and came out with five songs ready to record. The five songs are each different in style. When I write music, I usually have a specific idea of what I think the song will be. But once I start composing, the song decides what it wants to be, and I have no choice but to let it do what it wants. But they’re all held together by my approach to music, and fit under the heading of jazz/blues, with a healthy dose of soul and funk mixed in.
1. “Foundation” - This was the first song I wrote. I had done an earlier version a while back that sounded quite a bit different than what’s on the EP. I think of it as a jazz-blues song with some interesting twists.
2. “Naturally Clean” - This is a slow, groovy blues with attitude. The jam at the end was totally spontaneous.
Keith, Adam, and Michael just kept playing after the song was supposed to end. It was really fun trading solos with Tyler Summers (sax) and Carl Verheyen (guitar) during that part.
3. “Cascade” - This is the most straight-ahead jazz song on the EP. The chord changes in the solo section are really challenging. There are two solos: Carl Verheyen played the first solo (with a slightly dirty tone) in two takes - I used the second take exactly as he recorded it. It was truly amazing to watch such a great musician creating spontaneously.
I had to work a lot harder to get my solo recorded, which has the clean tone.
4. “Finch Food” - I had a lot of fun composing this one. Someone told me it sounds like James Brown meets Frank Zappa. There are a bunch of tempo and time signature changes in the midst of funky rhythms, and a lot of little parts that come in and out. Keith, Michael, and Adam nailed the basic tracks - sight-reading - in two takes. They’re such good, musicians, it’s scary. But I didn’t want it to sound like a prog-rock song or make the time signature changes obvious. I wanted the listener to just hear a smooth flow of music and groove with some fun things happening. If you really listen, you can catch all the changes going on, but you can also just tap your foot all the way through.
5. “White Iris” - This started out in my mind as a guitar song, with lots of layers and overdubs. But Michael played a beautiful, emotional piano part, and the entire song changed. I ended up only playing the melody doubling the saxophone, and a short solo on guitar. If I had tried to add more parts, it would have made the song cluttered. I love the mood of it, which kind of reminds me of Pat Metheny Group (though I play nothing like him). The freeform, ambient part at the end was once again spontaneous. Keith kept playing the sort of clock-like drums, and the rest of us played along. Those spontaneous sections are the most beautiful parts of the EP for me.
Did you record just in a regular studio or are there also some elements recorded in a home studio?
Both. We did the basic tracks (drums, keyboards, bass, and “scratch,” temporary guitar parts) at Sweetwater Studios as a live band - I really wanted that live feel. I re-recorded my guitar tracks at home. We also did Carl Verheyen’s guitar parts at Sweetwater Studios. The horn section and saxophone were recorded at Ocean Way Studios in Nashville, Tennessee.
Mark Hornsby was the recording engineer for both the basic tracks and the horns; he did an amazing job.
I mixed the EP at home, during lunch breaks at Sweetwater, on airplanes, and in coffee shops. Then I took the mixes into Sweetwater Studios and did the final touches - analog summing, and hardware compression and EQ on the stereo bus. Studio C at Sweetwater is such a great-sounding room designed by my friend Russ Berger, with wonderful ATC monitors and gear from Dangerous Music, Manley, Maag Audio, and more. Mastering was done in New York by Scott Hull at Masterdisk using mostly analog processing. So the EP really was done all over the place. I like to use professional studios for the things studios are great for - acoustic spaces, great gear, etc., but I also like to have the freedom to spend as much time as I want on my parts and on the mixes, which is much easier at home.
Tell me something more about the recording process... Was everything recorded one-hundred-percent live and on the fly, or did you record take-by-take?
The drums, bass, and keyboards were live, all recorded at the same time. All of the songs on the EP are either the complete first or second take, takes were not edited together. Then I added the other parts on top. If you want a live band sound,
I think it is essential that the basic tracks are played together. There’s an interaction and feel that you don’t get when you layer and overdub basic tracks. I played temporary guitar tracks while they played the basic tracks, so they also responded to what I did. The horn arrangements were done later, so they were also responding to what’s on the basic tracks and my parts. It was essential for the horn arrangements to be written after the basic tracks and my guitar parts were down.
John Hinchey did an amazing job arranging the horn parts.
Did you think about playing on each of the instruments on the record?
For this project, I really wanted to let the musicians have as much freedom as possible to play like themselves. Yes, I could compose every note for the every instrument, but I could never come up with the great parts they came up with when they were playing live. So I provided the musicians with a fairly detailed road map for each song, and they added their own inspiration. I loved everything they did, because it was not exactly what I would have done. It was fresh and spontaneous, and came from what they heard and felt. With musicians like these, you just tell them basically what you want, give them a little direction, and they will come up with spontaneous parts that are wonderful. I mean, I guess I could tell a virtuoso like Keith Carlock what to play on drums, but what would be the point? He will always come up with better drum parts than I ever could! The moral of the story - at least for this kind of record - is to get great musicians and then turn them loose to play.
Yeah, I agree with this approach. The material oscillates around blues, soul, and jazz. Did it not tempt you to hit harder? You know, it's easy to have a great heavy distorted sound today. Heavy riffs are everywhere and still gain in attractiveness...
I love heavy music - I wanted to be a shredder when I was young, and spent hours and hours playing heavy music.
I had a fusion group when I was in college, and played songs by Joe Satriani, Steve Morse, and others. And I grew up during the New Wave of British Heavy Metal, so I had a steady diet of Iron Maiden, Judas Priest, Tygers of Pan Tang, Riot, Scorpions, Ozzy and Black Sabbath, plus Rush, Triumph, Gary Moore, Thin Lizzy, ZZ Top, Whitesnake, Deep Purple, Van Halen, Pantera, Dream Theater, Whitesnake, and so many more great, great bands that I still listen to and love.
I still listen to heavy music, though I lean more toward heavier blues music these days, like Gov’t Mule. For a long time I had a band that played Gov’t Mule, Allman Brothers, Pat Travers, Joe Bonamassa, and Thin Lizzy covers, which was really fun.
But for the past few years I’ve found myself growing more interested in jazz. I don’t think I’ll ever be a true jazz player, but I hope that I can incorporate the feel and approach of that style into my playing and my songs. I’ve also come to enjoy groove-oriented music: soul and funk, and I wanted the songs on Foundation to have a real groove to them.
What I didn’t want to do is make a forgettable shredder album. I own literally a hundred or more albums by incredible guitar players - far better players than me - but I never listen to the albums because the songs don’t catch my ear or hold my attention. Once I’ve been amazed by the virtuoso playing for a few minutes, I’m ready to move on to something with more musical substance. So I intentionally pulled way back on flashy guitar playing and really tried to focus on vocal-style melodies, even when playing solos. I think there’s still plenty of guitar playing on my EP, but I wanted the focus to be on the songs, not the solos. That can be hard to do, because your ego tells you to play fast, play flashy! But I find - and people tell me - that they can listen to the songs on Foundation over and over, hum the melodies, and enjoy the music. That’s the key; it’s music, not a solo.
Why didn't you decide to sing on this album? I know you can do it and it seems that you feel good as a vocalist?
There’s a very simple reason: I don’t write lyrics! In the past, I’ve tried working with lyrics other people have written but I’ve never been happy with the results. Maybe it’s because musically, I think of myself primarily as a guitarist and a composer, who also happens to sing. I was always the guy or one of the guys in the band who could sing, so I ended up singing lead or backup vocals. And I do enjoy singing! I expect at some point I’ll record some things where I’m singing; it’s a part of what I do and what I have to offer.
Could you tell me something about the guitars used on the recordings?
I used a few different guitars. I used a blue Fender Telecaster that I modified with humbucking pickups, a new neck, and a Strat-style vibrato bridge. I also played a hollowbody Gibson ES-275 on two of the songs and used my Gibson Larry Carlton ES-335 quite a bit. I played a few parts with a sunburst Gibson 1959-reissue Les Paul Standard and a Fender Custom Shop Stratocaster. The amp I used the most was a Fender 1968-reissue Deluxe that Paul Rivera modified for me. I also used a Fender Deluxe and a Twin, a Fuchs Overdrive Supreme, and a Friedman Buxom Betty.
You like true organic music and what about the equipment? Tubes, analog or hybrids, digital plugins and modern technologies?
I’d say a combination of all those. For Foundation, the drums, keyboards, and bass were recorded with Sweetwater’s amazing collection of microphones, into Rupert Neve Designs Shelford mic preamps and into Pro Tools.
All of the guitar amps are tube amps. I didn’t really use any pedals. However, most of the guitars were recorded through the amps into a Rivera Mini Rock Rec, which is a load box and speaker emulator that let me run the amp straight into a Rupert Neve Designs Shelford Channel preamp, a Burl Audio converter, and a Universal Audio Apollo audio interface.
There were no speaker cabinets and no microphones used on most of the guitar tracks. No one has been able to tell me which tracks were done with mics and which were done without, so I think that is a real success. The horn section and saxophone were recorded with vintage ribbon microphones through the big Neve console in Ocean Way Nashville Recording Studios. I mixed in Pro Tools using mostly Universal Audio UAD plugins and Fab Filter plugins, with a few Waves, Sonnox, and Sound Toys plugins thrown in. I ran the final mixes through an analog stereo summing chain at Sweetwater: a Dangerous Music 2-bus Plus, a Manley ELOP, a Dangerous Music Bax EQ, and a Maag Audio EQ4M.
I’m really a fan of using analog summing and stereo processing to bring a mix together. I believe Scott Hull at Masterdisk used mostly analog EQ and limiters when mastering. But overall, there’s relatively little processing on the Foundation EP.
I didn’t use much EQ or compression on the tracks when mixing, only a dB or so of compression on the stereo mixes, and Scott only touched the tracks lightly with EQ and compression when mastering. We were not trying to make a modern, “glossy,” super-loud record. I wanted it to sound natural, and to have all the dynamics of the amazing musicians, without worrying about making it loud. I’m so happy I made that choice. Foundation is not as loud as other records, but it “breathes” and has dynamics, like real music should. No one has complained that it isn’t loud enough, so I guess if someone wants it louder, they just turn up the volume control! So that’s a long answer to your question. I believe you should use the best tool for the job that gives you the sound that you want, without worrying about how it’s doing that job. Who cares? What matters is the final result. How does it sound?
Maybe it's long, but that's what I meant. It is very informative and my readers will certainly like it. Since we are already on the subject of plugins... How do you perceive the world of VST plugins? Its pros and cons?
I’m a big fan of plugins for all the obvious reasons: price, features, recall of settings, automation, multiple instances, ease of use, and sound quality. There’s so much you can do with plugins that you simply can’t do with hardware. But I also love analog hardware. I think it can add a real vibe to a recording, when used in the right place and in the right way.
I happily use both plugins and hardware; why would you limit yourself to one or the other when both do wonderful things?
What do you think about plugin software compression?
I use it all the time. I love it. I also love hardware compressors. For the Foundation EP, I used the UAD plugin version of the Distressor, LA-3A, and 1176, and a lot of the Fab Filter compressor. There are also some Waves compressors - the SSL bus compressor plugin - on subgroups, and more. And instead of compression I often used the Waves F6, which is a dynamic EQ that can shape not only frequencies but can respond dynamically too. It’s a real problem solver, and a powerful tool.
Have tested the Harrison Mixbus 32C? What do you think about its approach?
I have not used it myself, but I know that a lot of people really like it. I need to give it a try soon.
In your opinion, if someone has the right knowledge and knows analogue equipment, can they get the same sound with a plugin?
I thinking you can get super close. But I think it is easy to get caught up in worrying about using one thing or another or using what you think you should use according to some magazine or website. I also think that it’s easy to miss the forest for the trees, meaning that it’s easy to put tons of effort into getting a perfect sound in isolation, but when you put that sound into a full mix, you can’t hear the difference or the sound doesn’t really work. Use what you have and what works for you. For some people that will be analog. For some it will be plugins. What matters is the final result - does it sound like what you want to hear?
Your music idols?
There are so many, in different areas. I love so many great musicians in all styles: but it all started with Ace Frehley and Kiss! On guitar I look up to Eddie Van Halen, Allan Holdsworth, Robben Ford, Larry Carlton, Warren Haynes, Steve Vai, Ritchie Blackmore, Eric Johnson, Pat Metheny, Joe Pass, Mike Stern, Brad Paisley, Bill Connors, Stevie Ray Vaughan, Chuck Loeb, Michael Hedges, Alex Lifeson, Randy Rhoads, Tony McManus, Segovia, Julian Bream, Pepe Romero;
I could go on and on for hours. I also listen to players of other instruments: John Patitucci, Hiromi, Dave Weckl, Stanley Clark, John Coltrane, Charlie Parker, Stan Getz, Chet Baker, Miles Davis, Geddy Lee, Neal Peart, once again, there are so many more. I look up to great composers as well: Debussy, Satie, Astor Piazzolla, Stravinsky, Steve Reich, Villa-Lobos, Andrew York, Frank Zappa, and all the greats - Mozart, Bach, Handel, Haydn, Beethoven, Tchaikovsky, plus jazz composers like Chick Corea, Herbie Hancock, and so many more. Then there are my favorite recording engineers and producers: George Massenburg, Al Schmitt, Alan Parsons, Bruce Swedien, Frank Filipetti, Kevin Killen, Pierre Marchand, Daniel Lanois, that’s another huge long list.
You think that today's world still has idols?
Oh yes, definitely. I think we all have people we look up to and want to be like. I don’t think that will ever change.
Your favorite music album?
I own and love thousands of albums, and listen to so many different kinds of things - I think my answer would change
every day! But someone once asked me what albums I would take to a desert island, and this is what I said:
1. Larry Carlton - Last Night
2. Michael Hedges - either Aerial Boundaries or Live on the Double Planet
3. Atlanta Rhythm Section - Champagne Jam
4. Robben Ford - Live at Rockpalast or Talk to Your Daughter
5. Van Halen - it would be a tough call, but probably their first record
6. Eric Johnson - Tones or Ah Via Musicom
7. Eric Marienthal & Chuck Loeb - Bridges
8. Allan Holdsworth - Metal Fatigue
9. Gov’t Mule - Deja Voodoo
10. Miles Davis - Kind of Blue
11. About a million more!!
The record you think is best done?
That’s a tough one - there are albums that I think are just perfect, though they may not be the most audiophile or whatever, but I don’t care. I can’t see changing a thing about them: Van Halen I; Boston’s first; Robben Ford Talk to Your Daughter; Rush 2112, Moving Pictures, Signals; Black Sabbath Heaven & Hell; Eric Johnson Tones, Ah Via Musicom, Venus Isle;
Pink Floyd The Wall, Michael Hedges Aerial Boundaries, Toto IV…man, the list is so long...
If you had to point out the good side of the development of technology for home recording…
In a word, “freedom.” You aren’t on the clock at home - you aren’t paying by the hour to rent the space. So you have the freedom to spend as much time as you want on your ideas. That can be a great thing, but it also means that you need some discipline to actually know when you are finished!
What do you have in your home studio? If you could describe your equipment... and of course, say why this one?
I’ve had a number of really nice home studios in the past, but the one I have now is the smallest I’ve had in a while.
(There are some videos online of my previous studio, it was really a great purpose-built space.) But I have a smaller studio,
I call it my “music room” - for two reasons: the biggest reason is that Sweetwater, where I work, has amazing studios that I can rent, so I don’t really need to try to duplicate that at home. Second, I’m mainly composing and recording guitars at home these days, so I don’t have to have a big set up. I’m not working with outside artists right now, I’m just recording my own projects. My music room rig is based around a MacBook Pro running Pro Tools (for recording and mixing) and PreSonus Studio One (for writing), as well as Sibelius and Guitar Pro 7 for making charts. I use virtual instruments from Toontrack and Native Instruments, and plugins from Universal Audio, Fab Filter, Sound Toys, Sonnox, Waves, and others. I use a Universal Audio Apollo 8 linked to an Apollo Twin mkII for my audio interface — I love the UAD plugins, and I think those interfaces sound great.
For recording I run a Rupert Neve Designs Shelford Channel into a Burl Audio analog-to-digital converter into the Apollo digitally. The Shelford is glorious sounding and super versatile. The Burl gives me a fat, round sound. Between those and the Unison preamps/plugins in the Apollos I can cover whatever I need. My monitors are Neumann KH120; I tried a lot of speakers in my small room, and those sounded the best to me. I also have IK Multimedia iLoud Micro Monitors. I listen to those in my office all day at work, so they’re a great reference for me in my studio. I use Sennheiser HD650 headphones.
I monitor a lot on headphones, and I recommend getting the best headphones you can afford. There are a lot of really good ones out there. I have a small mic locker: a pair of Royer R-121 ribbons, a pair of Mojave Audio MA-200 large-diaphragm condensers, a Shure SM7B, and I still have the first mic I ever bought, a Shure SM-57 I got back in 1981. Lately I’ve been using the Audio-Technica AE-2300 for guitar cabinets a lot. I really like that mic. I will be adding a pair of small-diaphragm condensers soon for acoustic guitar and classical guitar. I haven’t decided which ones yet.
Guitars, basses, vocals... you can record them almost everywhere today, but a foundation like drums; you can not record it just anywhere. Many young people do not realize what we pay for in the studio. Today there is a tendency to take shortcuts, but it is a kind of utopia. Regular recording studios are still very much needed. What do you think about this matter?
I agree 100%. I’ve been privileged to visit many of the great, historic studios, and it’s always so inspiring just being in those spaces. It’s a shame when we lose one of them. Professional/commercial studios are ideal for recording drums, orchestra, bands playing at the same time, choirs, and anything that needs a great acoustic space and access to a wide range of great gear - and a big console for mixing. As I said earlier, for my EP, I recorded the basic tracks and the horn section in commercial studios and also did my final mix tweaks in a commercial studio. For me, that was a great approach, and it was affordable too, since I went in very prepared for my sessions and was able to get in and out without wasting time. Then I could take my time at home on the parts of the production that were appropriate to do there. I highly recommend that approach: use a commercial studio for the parts you can’t do at home, and do the rest in your own space.
What do you think about DIY equipment? Do you support such solutions?
I think DIY can be a fine solution for certain things. As we talked about earlier, these are all tools. I don’t care where they come from so much as what they do for me. Plus, you can learn a lot making your own gear. I’ve made some, mostly guitars. Having said that, production equipment is a much more practical solution for most people. For me, I only have so many hours in the day. I’d rather spend that time practicing, composing, and recording than building gear - someone else will always be better at it than me!
What do you think about guitars like Line 6 Variax?
I think they’re great tools. It’s sort of like what we were talking about with plugins. If it sounds good and does what you need, then that’s what’s important. It’s easy to get caught up in being a purist and to be elitist about what - when it comes down to it - are tools for making music. Use what does the job!
If you were to point one name that you think has revolutionized the audio industry…
There are so many brilliant people who have made gear that has changed our world. Marcus Ryle, who is now with Line 6, but who designed the ADAT and tons more gear we all use every day, Leo Fender, Jim Marshall, Rupert Neve, Bob Moog, Randall Smith at Mesa/Boogie, David Royer… there are so many important geniuses in our industry, and many of them are my friends, so I’d hate to forget to mention someone!
Let's go back to your musical road…With whom did you play, share the stage, collaborate? Any well-known names? Was someone who made you start to doubt or stress yourself? Someone who creatively intimidated you?
I started playing music when I was 15 or so, and have been in a lot of bands no one has ever heard of. I toured for a couple of years with rock and country bands before I went back to college and got my music degree. I played a lot of “casual” gigs to earn money while I was in college and graduate school - a different group of musicians every night playing weddings, business events, receptions, and so on - no sheet music or charts, everything done totally by ear on the spot. I learned so much doing that! I also taught a ton of guitar lessons and ran a studio out of my house for a while. Music has been so good to me - I’ll tell you a few experiences that are special to me, and I hope it doesn’t seem like name dropping or bragging...
Probably the biggest thing for me was getting to sing lead vocals onstage with a band where Robben Ford was playing guitar - that was a real thrill! I also got a private guitar lesson from him as a birthday gift, thanks to my wonderful wife!
I played in a tribute show to the Eagles, and Don Felder played five songs with us, including Hotel California, which he, of course, wrote. It was pretty cool to play that song with him. I learned a lot about melodic playing, economy, and great tone from that experience. I did some sessions with John J.R. Robinson on drums, Jim Horn on saxophone, and Lou Marini on sax. (If you don’t recognize those names, look them up!) I learned so much just being in the same room with them.
The most fun may have been when David Ellefson from Megadeth and Frank Bello from Anthrax were visiting Sweetwater and sat in with a band I was in at a little hotel bar - the people in the bar didn’t know what hit them! David played bass and Frank was the lead singer. We did some Judas Priest and Cheap Trick songs. It was a crazy night! Lots of great artists have been here to Sweetwater, and it’s been amazing to get to meet them and to get to know them. Just recently, I shot a video for Sweetwater where Ricky Skaggs gave me a mandolin lesson. That was unbelievable. I don’t know if any person has really made me doubt myself. Of course, I’ve been nervous to meet or play in front of my heroes, but I think that is pretty normal.
I know some people say, “Oh he or she was so good it made me want to quit playing.” But I usually feel inspired when I meet and hear someone amazing. I don’t feel like quitting. If I’m honest, all those feeling of nervousness and intimidation come from within, and are driven by ego - you want to impress someone and for them to like you. That feeling is not coming from the person you’re meeting or playing with or performing in front of, it’s coming from inside you. But that doesn’t change the fact of being nervous or intimidated! I try to focus on communicating the music as best I can, but I’m not always successful!
Mitch, Thank you for telling me all that! Its so amazing to hear all this histories... Your memories, your life, there's so much passion and music in it...
My pleasure Adrian!
Your recipe for a successful band?
Ha - does anyone know the answer for that? I play in a cover band with great musicians from Sweetwater, called “Expanding Man.” We have two rules: 1. No Drama. 2. No Rehearsal. Everyone has been playing for years, and we all know a ton of songs and can play by ear, so we can pull off a bunch of stuff without rehearsals. Or if we get a request we find a chart online and put it on an iPad while we play. But the big thing is “no drama”! “No drama” means show up on time, have gear that works, have a car that works or a reliable ride to the gig, don’t have an attitude, don’t get drunk on the gig, don’t play too loud, and above all have fun. Those qualities are rarer in musicians than you might think!
Where do you feel better? In the studio, on stage, maybe at Sweetwater?
I enjoy them all equally. They’re all very different, but they all let me use my talents and experience in different ways.
So I really enjoy them all. I’m so blessed and happy to get to do all of them.
We have great equipment today and yet recent albums sounds more and more less fascinating. Do you have any solution for this?
To me, the problem is so much of it sounds the same - someone has a success, then others try to follow that success.
And I think that so many productions are over-compressed and lifeless, with no real musical dynamics left. Lots of recordings I hear hurt my ears, they’re so harsh and bright. I think the key is not to follow the trends of the day, and not to try to sound like someone else. Try to have your own sound and create your own music without worrying about what everyone else is doing or what is selling records or downloads or streams. Be original. It’s a topic to debate, but I think you should make the music you want to hear, not what you think other people will want to hear.
In your opinion, why are there no bands today that can take millions of listeners? Take a look at the first half of the ‘90s... Metallica, Guns ’n’ Roses, Nirvana, REM, U2, Michael Jackson, Alice In Chains, Bon Jovi, Soundgarden, Pearl Jam, Red Hot Chili Peppers... then Marilyn Manson, Korn, Slipknot...
The industry has certainly changed. And listeners have changed. And how we consume music has changed. We have so many options for finding and hearing music today: vinyl, CDs, downloads, streaming, Youtube, Facebook. I think it’s hard for an artist or band to dominate like they could when everything was driven by radio and later by MTV (back when they played music videos). Some call those days the “Golden Age” of the music industry, and it was golden for mega artists and for record companies, but maybe not for all the rest of the artists out there. Maybe now there is an opportunity for the rest of us to have our music heard - maybe not by millions and millions of people, but by those who find us and those who like what we do.
Do you deal with anything other than audio and music in your life?
Oh yes, I have a lot of interests! I’m married and love to spend time with my wonderful wife Fe and our two dogs, Oliver and Baxter. We work on our house and yard a lot, and we enjoy entertaining our friends. I’m a voracious reader - I read maybe 100 books a year, of all genres. I was a weightlifter, but I got into playing racquetball a few years ago, and I really enjoy that. I love to cook and to sample Scotches and bourbons from my collection. I’m a movie fan,
I enjoy art museums, I like to travel. There’s always something fun to do and something to learn! I used to be 100% music and work, but I think I’m better at music and work now that I have a more balanced life and more interests.
Last question: are you going on a tour promoting your material? I get the impression that it is music that will bloom during a live presentation.
I would love to get out and play this music live. I agree that it would be exciting to see what happens when a band plays it live onstage. I do have some gigs coming up in the spring, and would like to book more. As far as a tour, it’s tough since I have a full-time job and other commitments, but we’ll see what happens!
Mitch, at the end of a small request, will you allow me to add a video with your madoline lesson from Ricky Skaggs at the end of our interview as a bonus?
Oh, yes, it would be great!
Thank you very much Mitch! It was great to talk to you! I'm glad that we could do it!
I also thank you for being able to talk about it all! It was a pleasure!
Site Map About
Copyright © 2017-2019 studioknowmag.com. All rights reserved. The content on this web site may not be reproduced or distributed in any form and in any manner in any of the fields of exploitation, including copying, photocopying, and digitizing, without the written permission of the Owner.
All product names, company names, band names and trademarks are the property of their respective owners, which are in no way associated or affiliated with studioknowmag.com.