ABOUT THE AUDIO
Some of these songs have been mastered, and some have not. Some were mastered in different phases of the ongoing CD Loudness Wars, which are currently underway between labels and mastering engineers. In short, some of these clips will be louder than others, so please adjust your playback volume appropriately for each song.
The copyright in these tracks belongs to the artists (or in some cases their label). They are presented here to showcase my work as a recording engineer and producer. I am not giving them away, as they aren't mine to give. I would prefer that you listen to them in your browser. But since I cannot stop you from saving them, I would only ask that, out of respect for these artists (who worked very hard to pay studio bills that often were more than they could afford), you not distribute or share these with others in any way.
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Snow Machine was Katharine McElroy's baby. The record was produced by Katharine and myself, recorded and mixed by me, and done very quickly.
Rejected demo from the "La Musica Negra" demo sessions. Produced by Scott Bondy, Les Nuby, and myself. Engineered and mixed by me.
Sam's version of the Robert Johnson classic. We did this one and two others in a five hour session. Sam played all the instruments himself. The drums were either played by Sam or by me; I can't remember.
A track from Beitthemeans' debut record "Shotgun Radio." They think I did an awesome job producing their record. I think they're right.
This was recorded as the Shame Idols and then subsequently released as the Lolas on their debut record "Ballerina Breakout." The first half of that record (including this track) was cut entirely in one day. The rest of the record took a few weeks to complete.
Demo from the La Musica Negra demo sessions. Produced by Scott Bondy, Les Nuby, and myself. Engineered and mixed by me.
Warning: Explicit content. Patton's set was more than two hours long that night. At this point, he had had at least eight scotches. Enjoy.
All you need to know about Zach is that he has a huge bushy beard, wears a visor, and plays piano while he does his act.
Brian Posehn from "Just Shoot Me," and "Mr. Show With Bob and David."
Another track from "Shotgun Radio."
This is basically a rough mix of an unfinished song, but it was included on the Low Dose Exposure compilation, so I thought I'd include it here. Produced by John, engineered and mixed by me.
This was included on Lunasect's Junk Pop EP, and I liked this mix because it highlights the string ensemble. The original version is available on "Points of Departure," and also at the Lunasect website. Engineered and mixed by me.
This was a fantastic project to work on. One of the few projects I've ever worked on where I felt like I actually had the time and resources needed to make a really good record. Produced, engineered, and mixed by me.
Tim Boykin is an amazing player. This was recorded live in the studio, one take, no overdubs, with all the musicians, drums, and amps in the same room. Yes, that's just ONE guitar. I'm not sure how he played those low notes. Engineered and mixed by me.
A really nice instrumental written and played entirely by Les. We recorded it in about 20 minutes.
The title track from "Shotgun Radio."
Speaks for itself. Les is an amazing writer and player. Recorded and mixed by me.
Crazy long-term project I've been working on with ex-Man or Astroman? drummer Brian Teasley and his new band. Some of this was recorded at Andy Baker's place in Athens, but mostly it was recorded at my studio in Birmingham.
We recorded these drums for a Lunasect song. We set the drums up in the vocal booth and left the doors open. The big room sound comes from the ambience mics placed out in the studio and in the bathroom. I also compressed these drums within an inch of their life.
Brian's vintage Rogers drum set out in the main room.
A very crazy drum sound. I'm not allowed to divulge how we got this drum sound. I can only say that no effects boxes or plug-ins were used.
I'm not a drummer... by a long shot, but that never stopped me from playing the drums. This is for a song I'm working on right now.
Engineered and mixed by me.
Floating-in-space music. This was a rejected submission to a David Bowie tribute record. The label ultimately preferred another song we recorded at the same time. I only include this to show off all the wild sonic treatments and Jessica's layered vocal takes.
More of Katharine's Snow Machine record. I love the way Katharine writes songs. This is the third project I've worth with her on, and she has an amazing pop sensibility.
Gangsta shit from M Town.
Paint shredding rock from Beitthemeans.