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User: PoeticIntensity
Registered: Aug 26, 2010
Listings Submitted: 1 listing
Last seen: 08/08/12 - 15:43:37
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Remote Session Drummer

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Description: Jason Jones is the owner and operator of Advanced Budget Studios. Although he works as an audio engineer primarily, Jason was a drummer long before he made his first recording. With more than 20 years of experience, and hundreds of clients, Jason would love to bring your song to the next level with pristine, professionally recorded acoustic drum sounds.

Jason uses DW Performance series drums, and a mix of Paiste Twenty and Sabian AAX cymbals. Focusrite and RME preamps, world-class RME converters, and ADAT throughput will assure you get the highest quality available anywhere. The sounds speak for themselves.
Submitted: 03/16/12 (Edited 03/16/12)
Views: 126

2151 Silverado Drive
Springville, Utah 84663
United States of America
Phone: 801-735-2820
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Studio vs Live...? by on Tue, 02 Jun 2015 00:17:19 +0000:
 So, I recently went to a Walk Off The Earth concert, and it was awesome.  Their concerts just keep getting better and better.  As good as it was, that's not the purpose for this entry.  The purpose is a guy named Scott Helman, and a thought he provoked.

Scott Helman performed for 30 minutes before WOTE came on stage.  He's a teenager with a fantastic voice, infectious enthusiasm, and a whole load of confidence.  His songs are simple, and he obviously has a good time on stage.  ...  and that, my good friend, is contagious.  If someone is having the time of their life on stage (or seems like they are), the chances are the audience is following suit.  By the time 15 minutes had passed, about 700 people who had come to see Walk Off The Earth were full-on whistling, screaming, and raving for this unknown performer on stage.  As I stood there, I caught myself thinking, "'I've got to buy this guy's album."

So I did.

After the show, I bought aWOTE t-shirt, one for my wife, and a Scott Helman CD, and I was excited to spin it as soon as I got out to my car.

So, my wife and I got in, I unwrapped the CD, put it in, and 3 songs in to it, I broke the silence, and asked, "Is this as bad as I think it is?"  My wife responded, "Yeah, it almost seems it isn't him."

I ended up listening to the whole CD, and the only song I wanted to listen to a second time was the last song, which was a live recording of him on stage.

I wondered why such a great performer would put out a product so mis-representative of his talent.  Hmm....  Also, if this was the only instance of such a phenomenon, I probably wouldn't give it much thought, but it's happened with a handful of other albums I've purchased based on live shows.

Then, that got me thinking about a number of things.  It got me thinking about how the recording industry has changed in the last 20 years.

It got me thinking about my recording practices and what is really important to me as an engineer, and often, a producer.

I guess it might be a product of the process of recording getting easier, and cheaper.  Now it's easier than ever to buy a couple hundred dollars' worth of equipment, and bang out a couple of home-recorded songs.  But, I don't think that's it.

I think it might be that people seem to think that producing an album should be easier than it was before technology took over the process, but I couldn't disagree more.

I think the heart and soul of a great album has nothing to do with whether or not it was produced on stage or in a studio.  It has to do with pouring your heart and soul into what you are doing.  Technologies such as Beat-detective and Auto-tune are great tools, but I think they are more and more often used as crutches.

People before auto-tune had to learn how to sing.  They had to do it well, and they had to do it quick.  Using tape didn't afford us hundreds of inconsequential takes, nor did it let us easily hack together the best portions of those takes.  It was expensive, and every take used it up.   As such, less musicians were inclined to run into a studio and try to lay down their tracks without perfecting their craft.  "Fix it in the mix" almost didn't exist.

But I digress - a bit.

I think the lower barrier to entry, as well as giant leaps in corrective technology, has put more of the burden on the engineer to create a great track, instead of the artist, and unless your engineer has the same passion and vision as you do, I can almost guarantee a product that mis-represents your talent.

I guess, after hearing Scott's album, I caught myself wondering about the future of the business I'm in.  I then wondered why I'm doing what I'm doing, and it felt good.

True artists are always going to be interested in creating a product that captures their passion and does their vision justice.   They are also always going to want to put in as much creative energy as needed to create that product.

...and as long as that passion is burning within me, there will always be musicians who can see that and want to connect and create at Art City Sound.  Man, that really sounded like something coming out of a marketing department, but it's true.  As long as I am willing to push myself and do whatever is necessary to bring out what my clients want, then I believe the future is bright.

I invite you to come in, take a tour, and spend a few moments chatting.  It'll soon become apparent if the vision is caught, and the appropriate energy exists.  Mutual understanding is key, because these days, the mixing engineer is the person who creates a lot of the sound that will make it on the album, and if they don't understand what you're all about, there's a chance you could end up with an album that falls flat in comparison.

Click here to see what others are saying about Art City Sound.
Headphones by on Sun, 04 Jan 2015 00:09:59 +0000:
 So, I've been asked about headphones recently by a lot of friends.  So much so, that I thought I'd write down a few words, more regarding what you should not buy, rather than what you should.  This is simply due to the enormous amount of generally good, and wildly varying headphones out there.

As most of you know, I'm an audio engineer, and as such, I analyze music most of all days.  To you, this could mean that I'm automatically an audio snob, and anything I say won't mean much to a normal person listening to music for enjoyment.  I don't think this is true.  If you care at all about audio quality, please consider this advice.

For the past few years, a brand of headphone has become wildly popular.  I can assure you, it is not popular because it sounds good.  It's popular because it's marketed a lot, and it's marketed very well.

If you are considering a new pair of headphones, and you are interested in audio quality.  Please shop around before you decide to buy a pair of headphones based on popularity.  For the price, a trip to your local Best Buy, and a few moments of comparison will decide for you.

Headphones I use in the studio are the Grado SR-225, and the AKG Q-701.  I also enjoy listening to my Sennheiser HD-650's from time to time.  These will probably cost more than you're willing to spend, but there are many headphone websites out there which can provide a few great options at a much lower price.

If you have any other questions on what not to buy, google can provide some help.
Christmas Time! by on Thu, 18 Dec 2014 18:19:00 +0000:
 So, today I released what has proved to be the best recording of any choir I've ever produced.  It was the UVU Institute's Latter-day Celebration Choir.  The song is "Baby Boy", one I've never heard before.

It can be heard by clicking here. (feel free to download, listen, and share as much as you like)

This was my foray into the world of remote recording, and I've got to say that the options engineers have with various devices to record remotely are plentiful.  I chose to acquire the Zoom H5 to accomplish this task, along with some boom stands that can extend up to 16 feet high.

For those interested in techinical details, I ended up using a coincident-pair stereo configuration of my AT 4041 SDC mics, where the mics were placed about 2 feet above the heads of the lowest row (which resulted in them being about 4 feet below the highest row.  The choir comprised 80 people, with 6 rows of singers, and about 6 feet in front of the front row)  The H5's default stereo pair were put about 2 feet in front of the upright piano.

Anyway...  Originally I thought it would be an easy task to get it to sound as good as I thought it should, but it ended up taking 2 hours to mix, and I used tools I normally wouldn't have to use.

All in all, when the clients came in to record the solos, and hear the final product, smiles all around told me I had done the job right.  It sounds cheesy, but it's true.  The satisfaction I get from giving my clients a product that exceeds their expectations is the end goal of every project of Art City Sound.  Making musicians happy with their creations...  There's just something about it that I crave.

Anyway...  Another smaller choir-based project I worked on was Jodi Lee Nicholes' "O Holy Night", produced by Jhonny K.  Click here to see the video

This project ended up becoming much more than I originally thought, and ended up getting time on the radio.

Though the years, I've loved the projects which come in at Christmas time.  I usually end up doing a dozen recordings or so, as Christmas presents which makes sense.  These recordings become a journal of sorts to your loved ones.  Seeing and hearing people pour their souls into these projects, and me being able to help them realize it all just makes me smile.  I love it.

Anyway...  Merry Christmas to you all!  May the light and love of Christ descend onto each of your hearts, for He truly loves you.

Merry Christmas.
Sacred Sounds Acoustics... by on Sat, 04 Oct 2014 17:30:20 +0000:
 So, a few days ago, a friend of the studio called up and asked if I would help him out with a project.  As he described the project, I grew more and more interested.

The project is called "Sacred Sounds: Cathedrals of Europe"

The gist of it, is that a group of researchers are going to be travelling around Europe studying the various acoustics of cathedrals in Europe, and all over the world.  They wanted to come to the studio and record a group of vocalists singing a traditional-based choral piece which was something that could easily be heard coming out of any cathedral anywhere.  It was a very simple, short, harmonious piece.

Having studied acoustics in order to build a better studio myself,  I'm very interested in acoustics, and the thought of studying the acoustics of various well-known cathedrals all over Europe was certainly cool.

When we were done recording the piece, they talked about what they were planning on doing, and one of my most prevalent thoughts was, "Man, I wish I was going with them."

Best wishes, you guys!

(for more information on Cathedrals of Europe, click here)

Live Room Upgrade by on Wed, 10 Sep 2014 10:03:51 +0000:
Soon after I began recording audio, I had a feeling I would be in the pursuit of an unattainable goal.  Finding that "perfect" recording space, or even creating that "perfect" recording would be difficult, if not entirely impossible.

10 years after I began, I was able to pour my heart and soul into a new recording space, and I was determined to get it as close to perfect as I was able.

Well, after being here for a year, I decided to build a large diffuser, and see what that did to the sound.


Truth be told, it did brighten the sound a little, but it didn't have as much of an effect as I was expecting, but it definitely was positive, so I decided to keep it.

A few months later, I decided to make another change.  This time, it would be in the form of a 36 sq-ft absorptive panel hung from the ceiling.


After I built and installed the panel, I didn't even need to play an instrument to tell the difference.  The following morning, I walked into the room, and my footsteps sounded different.  It was kind of un-nerving to tell the truth. 

After I recorded my drum kit the first time, I didn't know what to think.  My "live" room was now much more sonically controlled.  The natural live reverb that used to permeate was now much more subtle, as if it had been put in a cage and told to calm down.

That said, the panel brought my snare drum more to life and my kick drum seems like a different drum entirely.  The definition of how the kick drum now sounds, is like the difference between seeing the sky while underwater, and seeing it un-filtered.  The difference in clarity really is amazing. 

So, while I seem to have lost a natural reverb that I came to enjoy, I have gained clarity I didn't know I was missing.

I've been using the live room with the panel now for a couple months, and people seem to really like the increased clarity, so I think I'll keep it up.

Ever in the pursuit of the perfect recording space, I think I already know what I'm going to do next... *evil grin*


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