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Renting Studio Time to Renting Studio Time

Renting Studio Time to Renting Studio Time

Fallout Shelter Studios shot

It’s weird to be involved with a Music Production magazine when I have no aspiration to be a music producer myself.  I simply made beats because I need something to rap over. I remember renting studio time at a big commercial facility, bringing a crate of records and being told they didn’t have a sampler. That started the whole In Crib Productions era. I rented time at various home studios and began cranking out demos.

My frat brother Sajo worked with a producer named The Bad Man Wilson and I’d drive all the way from Long Island to Brooklyn just to work on my music. So many times I’d arrive at his living room studio only to find out he had company or be caught up with other projects and have to reschedule. There was nothing to complain about since studio time was free and I got it on the strength of their friendship. I didn’t realize the significance of this until I opened my own studio and saw how much time and energy I put into other cats music without charging them. Wow. It’s a wonder he had that kind of patience since I was still in my larvae stage and working out the bugs and trying to figure out how to blend all the science, sci-fi and general abstracted rappin into a demo.

I worked with Chuck Johns in Deer Park; another talented producer who skills leaned toward R&B, but none-the-less we made some good songs together. Eventually I made my way to Butch Ballard Studios in Amityville where I started building a unique sound. I saw a dusty bass guitar sitting in the corner and asked Butch to play on my record. After a bit of prodding he agreed and suddenly every demo from his studio had him playing live bass.

Studio time was still too expensive and I needed greater freedom to experiment away from the clock so I decided to get my own equipment. I picked up an Ensoniq ASR-10 brand new from Sam Ash and dove in. I started sampling from everywhere; TV, VHS, radio, tape and eventually DVDs. I picked up a Behringer Eurodesk 32-channel mixing board and artists started calling my crib– the studio. Somewhere along the Line I picked up an MPC 2000XL. My workflow took a major turn when Jest One Art put me on to Cool Edit Pro and the idea of using a PC as the studio brain. Infinite storage, infinite sampling time and seemingly infinite creative possibilities. Until something better than digital recording arrives or I choose to go back to analogue tape with reels, this is the current Fallout Shelter configuration. Oh there have been quite a few synths and modules thrown in the mix, but the essence remain a whole lot of audio being tossed around.

At one point I went in completely and quit my day job and opened my studio as a commercial business. Just before that I had been recording local acts for free (returning the favor to complete the circle) and many of them suggested I do it ‘for real’. Engineering a session was quite different than recording friends on the weekend. I enjoyed making my own music much more than cranking out demos. Now my studio is a personal laboratory where I do my Sound Design for http://www.StudioAVX.com and magazine work for http://www.ProducersEdgeMagazine.com. You can also catch the work I’ve done with my music group at http://www.Lenzmen.com and my personal island of sci-fi hip hop at http://www.TheDynamicUniverse.com.

-Dynamics Plus

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