Heather Bey is a Monitor Engineer and tech from Long Island who currently works at the Space at Westbury Theatre, mixing a range of events from concerts, MMA tournaments, and more.
A graduate from SUNY New Paltz, Heather was inspired to follow her passion for audio and upon graduating, and has worked steadily over the last few years, building her resume, and further deepening a love for her craft.
Chris Selim is a Musician, Producer, Engineer, and educator based just outside Montreal. He is also the founder of one of the web’s best recording resources; Mixdown-Online, where he shares tips, tricks and guides giving you the upper-hand on your recordings. His popular Youtube channel also serves to share his experience and provide the tools you need to make better recordings.
He has produced numerous hit singles for various recording artists including Drake, Chris Brown, Kendrick Lamar, Lil Wayne, Jay Z, 50 Cent, Black Eyed Peas, Young Jeezy, R. Kelly, Brandy, Jay Rock, Trey Songz, Ab Soul, Ice Cube, Wiz Khalifa, Rick Ross, Birdman and many many others.
Leo Beattie was at the epicenter of the Detroit rock scene of the late 1960’s, early 1970’s. After leaving his parents house just a year or two prior, and narrowly missing the draft for Vietnam, his first professional job in the industry was as a roadie for the hard-hitting band, the MC5.
Join me as I take the stage with legendary Audio Engineer, Robert “Nite Bob” Czaykowski, and veteran Tour Manager Rich Nesin, as we take a look at two extraordinary careers in the music business spanning the last fifty years.
Both Rich and Nite Bob have deep roots in the industry that start against the backdrop of the late ‘60’s, early ‘70’s, and include such artists as Bob Dylan, Aerosmith, Steely Dan, Iggy Pop, Steel Pulse, New York Dolls, Rich Robinson, Kiss, Ace Frehley, and Blue Oyster Cult.
Dani Seggewiss is a Monitor Engineer originally from Cologne, Germany, who currently resides in Leeds, in the U.K.
At nine years old Dani went with her mom to see a concert, and upon seeing the monitor and FOH engineers in action, she knew that that was what she wanted to pursue. Not that she had any idea of how to do it or how to start, or even what they were doing, but she knew that whatever it was struck a chord with her, and that she had to follow her instincts.
Juno Black is an audio and video production engineer currently living in her adopted home of Austin, TX.
Originally from Columbia, South America, Juno’s love of music started with the piano, which has remained her first love since the age of nine. From there, she moved on to playing bass guitar, and eventually started playing no local bands, where she also became interested in live sound.
Trace Davis is the owner and founder of Voodoo Amps, one of the premiere, boutique amplifier companies of it’s kind.
Driven by an unrelenting quest for the perfect guitar tone, Trace seeks to free his artists from distraction by “crafting more flexible and reliable ways to achieve great tone with vintage tones as well as high gain while always maintaining articulation and definition at all times.”
Gil Craig is an Audio Engineer and a Sound Designer based out of Wellington New Zealand. As a Monitor Engineer she has mixed for the Phoenix Foundation with the New Zealand Symphony, The Pink Floyd Experience, as well as many other Symphony orchestra productions and concerts.
She is also an accomplished record mixer, with several award-winning albums to her credit including: Trouble on the Waterfront, by the Waterfront Collective, and Circus of Fleas, by Fleabite.
Kim Watson is a freelance sound engineer who’s been focused as a systems tech, monitor engineer, and Front of House engineer since she was in high school. She’s moved quickly up the ranks, earning the respect of her peers.
As the house engineer for Newcastle’s O2 Academy, she works with an incredible selection of artists. Her client list includes The Subways, Blondie, Tom Jones, Shane Filan, UB40, and Emilio Sande.
For the last eight years Bruce Reiter has been mixing Front of House for the hard-hitting band, Five Finger Death Punch. With a deep knowledge base of both the analog side and the digital side, Bruce has honed his skills and reputation with such artists as Megadeath, Social Distortion, Static-X, Fear Factory, Limp Bizkit, Rancid, and Powerman 5000.
It’s an honor to be celebrating my 105th episode this week with our guest, Monitor Engineer Bruce Danz.
For the last 25 years Bruce has mixed monitors for some of Rock’s hardest hitting artists including Anthrax, Testament, Alice Cooper, Death Angel, and Buckcherry. He endured a sixteen-year run with Marilyn Manson while simultaneously mixing for Avenge Sevenfold, a gig that has lasted almost eighteen years.
This week’s guest is used to wearing many hats. Not only is he a longtime Sound Designer and working engineer, but Nathan Lively is also the host and mastermind behind the incredibly successful podcast and audio training resource.
How does a Memphis Gospel singer find her way to Chicago to become an Opera singer, only decide the spotlight isn’t for her, and ultimately forge a career as the successful FOH Engineer for Janelle Monáe?
It’s these questions and more that I explore with the amazing and talented Amanda Davis. Frustrated by the constraints of her classical training, and realizing the spotlight wasn’t where she was most comfortable, Amanda found a path into the world of live audio production where she has made a name for herself as one of the most solid Engineers on the road today.
To start us off on the right foot our first guest is Drum Tech and Stage Manager Lorne Wheaton. Not only does this award-wining tech have the respect of his peers, he’s also been in the industry long enough to have worked with some of the most revered drummers of our time.
A dreamer, an innovator, and a self-proclaimed procrastinator, Steve Remote doubled-down on his career, and at the age of eighteen years old, knew his destiny lay in following his own path, and forging a career for himself in the audio industry. He reasoned that the money he would spend on school would serve him better if spent on recording equipment to capture some of New York’s most daring bands of the 1970’s.
Thank you for joining me this week for our 99th episode, my guest is Jason Sprinzen, author of the forthcoming book about legendary sound and lighting company, SHOWCO.
A native New Yorker, vintage guitar expert, and vintage t-shirt collector, Jason has always been fascinated by the 1970's Rock 'n' Roll scene. He was still in grade school when he first laid eyes on the SHOWCO logo. Over the years, he would see it again and again in photos worn on the t-shirts of his favorite rock stars. Already an avid collector of vintage rock t-shirts, Jason soon discovered that some of the most coveted rock tees around are SHOWCO shirts from the 1970's.
Like so many of my guests, Rich Nesin started his career with a passion for music and a desire to learn everything he could about the industry. But as we know all too well, a successful career also comes down to right place, right time.
After starting out as a bass player in local New York bands, Rich quickly found himself working at S.I.R studios in midtown Manhattan, servicing clients like Todd Rundgren, The Dictators, Jim Carroll, and Blue Oyster Cult. His big break came at the start of Bob Dylan's Rolling Thunder Revue, where Nesin got his first real taste of life as a touring professional, making $250 a week as the tour's backline tech.
Our guest this week is Lighting Tech Pierce Scott. At the ripe young age of fourteen Pierce found his calling at his local church and starting volunteering in the A/V department. His first love was video, but he soon ended up learning all aspects of production including lighting.
Since 1981 Dave has mixed some of the top grossing acts of the last few decades starting with Asia’s Heat of the Moment tour. From there, he has gone on to mix for Tina Turner, Motley Crue, Joe Cocker, Fleetwood Mac, Lionel Ritchie, and of course, The Rolling Stones, for whom he has mixed since the A Bigger Bang world tour in 2004.
Bass player/singer/songwriter Byron Isaacs is a Texas native, proud former Hoosier, Brooklyn resident, and Woodstock frequenter, currently playing with The Lumineers as well as Lost Leaders. He’s also just completed a solo album, Disappearing Man, set for release on June 12, 2018.
Byron Isaacs is a founding member of the Americana band Ollabelle and has played with Levon Helm live at his Midnight Rambles and on both of his Grammy-winning studio albums. He played with Amy Helm and produced her album Didn’t It Rain. In the last fifteen years he’s also toured and/or recorded with Larry Campbell and Teresa Williams, The Weight Band, Joan Baez and many more.
After fifty years as a working and dedicated FOH engineer, Dansir McCullough still believes in the power of music, and the thrill it gives him night after night to stand at the center of it all, and push the faders up on over a hundred microphones.
Dansir’s big break came with Ted Nugent, who he would mix for from 1976-1984. Prior to that he had been with Bob Seger, the Rockets, and the Tea.
Fresh on the heels of graduating from the Fashion Institute of Design and Merchandise in San Francisco, Carly Scovill found herself under the guidance of longtime stylist Linda Burcher at the start of rehearsals for the 40th anniversary tour of one of the world’s most beloved artists, Tom Petty and the Heartbreakers.
Ken “Pooch” Van Druten has built a name for himself as one of the industry’s top FOH Engineers. After graduating Magna Cum Laude from Berklee College of Music, Ken headed to Los Angeles to begin what he initially thought would be a long and lucrative career as a recording engineer. However, this all changed after the invitation to mix one of his artists in a live venue. The band was Warrant, and the venue was none other than the Los Angeles Forum.
This week’s guest is Lisa Boland, Ticket Manager for the Dave Matthews Band. While she’s not necessarily on the front lines of the music, she’s certainly an integral part of making sure every single show in every city goes as smoothly as possible, for both artist and concert goer.
It’s almost impossible to be a fan of music and not know the name Peter Shapiro. Chances are you’ve heard of places like Wetlands Preserve, The Capitol Theater, and Brooklyn Bowl. You may even be familiar with Relix Magazine, originally launched in 1974, which focuses on live music, festivals, artist interviews, etc. If the aforementioned still doesn’t ring a bell, I’m sure you know the names Jerry Garcia and Bob Weir. Peter Shapiro is at the center of all of those things and many more.
It’s the late 1970’s, you’ve stopped drumming in your local band because you realized you could be more effective behind the scenes, you cut your teeth in every major bar or club for the last few years after starting out in Cleveland, and as the 80’s fast approach you wonder where life on the road with rock bands will lead you.
Then the phone rings. It’s a band that’s on the verge of dominating the world several times over, but no one knows that yet. They need a Bass tech. You say yes, having never done the job.