Tag Archives for " Richard Gibbs "
In my mind Richard Gibbs’ Woodshed Recording is one of the top 5 studios in the world (see the photo on the side), and it’s not because of its idyllic setting on a mountaintop overlooking Malibu’s Zuma Beach.
No, it’s because it can be configured any way you want at the drop of a hat, with a console/workstation and outboard rack that can be repositioned anywhere in the room, movable walls so there are multiple iso rooms, or none at all, and windows and doors that open to let in the cool sea breeze yet have little affect the studio’s acoustic integrity. And that’s only the start.
The studio has a who’s who of hi-end clientele like Coldplay, U2, Lady Gaga, Barbra Streisand, Kanye West and many more, which is impossible for most studios to attract – but not Woodshed.
In Part 2 of my conversation with Richard, he talks about how the studio came about, the mistakes that were made in the process, and some studio building advice.
In the intro I’ll take a look at the MQA process that’s been widely adopted by labels and associations, but may or may not be used for high-resolution streaming, and hearing loss and prevention.
Richard Gibbs has composed the music for over 60 films as well as some great television shows like The Simpsons and Battlestar Galactica. He’s a good friend and a great story teller, so it was time to have him back on the podcast (he was on Episode #38 a couple of years ago).
In Part 1 of the latest interview with him we take a deep dive into the politics of today’s film scoring, and how the job has changed from the way it was in the past. If you ever wanted to get into film composition you don’t want to miss this.
You’ll also hear some great stories that you won’t get anywhere else about producers changing composers mid-film, and the the many versions of the Battlestar Galactica opening theme. In the upcoming Part 2 we’ll talk about his unique one-of-a-kind studio overlooking the glorious Pacific ocean in Malibu (but there’s a lot more to it than that to make it special).
In the intro I’ll look at the new financing coming into the music business that may change the fortunes of artists and hedge funds alike going forward, and at the new generation of do-it-yourself audio kits.