angie mattson, arden kaywin, the sane, the trace, mirelle, kimberley locke, erann dd, rob zombie, zack montez, henrik launbjerg, jeapster, steven kim, chinese apples, eddie chacon, sophia maria, martika, ari gold, paul nicholas, hanne boel, rurik, debbie gibson, deborah gibson, amber, david petruzzi, karl fehr, dan sharp, wild orchid, kim larsen, gridlocked, swirl 360, snoop dogg, amber, nate dogg, tina turner, andy susemihl, en vogue, hanson, rudy haeusermann, rudy hausermann, Josh Delia, 126, 126bpm, 126 bpm, 126 bpm productions, 126bpm productions,produce, producer, producing, remix, re-mix, mix, engineer, compose, music , production, sound, audio, studio, master, rock, musician, producer, produce, producing, production, mixer, mix, mixing, remixer, remixing, re-mixer, re-mixing, music, musician, musik, record, recording, studio, mastering, label, composer, swirl, hanson, techno, jungle, alternative, steinberg, rock, cool, record label, publishing, music, musica, musik, trance, ssl, neve, console, roland, swirl 360, los angeles, los, angeles, producer, arranger, composer, orchestra, orchestral, sound, live-sound, livesound, concert, loops, Celine Dion, Hanson, En Vogue, Matchbox 20, Art Garfunkel, Wild Orchid, Suzanna Hoffs, D Generation, The Wilsons, Adam Sandler, Fu Manchu, Quest for Camelo /Riverdance, Hootie and the Blowfish, Smooth, Jake Trout and the Flaunders, Warren Hill, Vonda Shepard, Drown, Kelly Le Roc, The Arias, The Kiss (Soundtrack), Ally McBeal, Immature, Mighty Ducks TV-Series, Tatyana Ali, Coal, Pearl, Space Monkeys Bigelf, Adam Cohen, Stabbing Westward, Smooth, Tatyana Ali, seth swirsky, martika, debbie gibson, deborah gibson, andy susemihl, tina turner, rob zombie, white zombie, jd webb, karl fehr, rick finley, the trace, snoop doggy dogg, nate dogg, sophia maria, sweet heaven, jerry sharell, snake like charm, music management, music grinder, nrg recording services, nrg recording, angie mattson, arden kaywin, the sane, the trace, kimberly locke, tina turner, seth swirsky, mirelle, rurik, hanne boel, erann dd, kim larsen, mixing, recording, studio, zack montez, henrik launbjerg, steven kim, amber, dauman music, snoop dogg, martika, deborah gibson, debbie gibson, david petruzzi, jerry sharell, hitquarters, ari gold, paul nicholas, pattie brooks, nate dogg, chinese apples, eddie chacon, kenny aronoff, scotty lund, January 06:Mixing single for'Last Page First' for their Japan release. In the studio with Australias Jeapster. Mixing for the new 'The Sane'EP. In the studio with Deborah Gibson and actor Wilson Cruz producing two tracks for the film 'Coffee Date' .. Working with singer/songwriter Dayna on her debut album. Rudy to work with Australian rock band 'Jeapster'. August 05: Rudy interviews with HitQuarters Online (www.hitquarters.com). In the studio with American Idol contestant Kimberley Locke, Swedish singer Mirelle, singer/songwriter Zack Montez and drummer Kenny Aronoff. Arden Kaywin has been chosen as one of Napsters 'Artist in Residence'. July 05: Angie Mattson will be opening for Hoobastank July 29th in Michigan. Ari Gold, who's song 'Funk that Ship' was produced by Rudy wins the 2005 Out Music Award for his album 'Space under Sun'. Brian Anthony performs the song 'Champion', co-produced and mixed by Rudy, at the Special Olympics 2005 Summer games opening ceremony. May 05: Paul Nicholas, who's song 'Living the Dream' was produced by Rudy will appear on the Montel Williams show on June 1st '05. The song will be available on Montel's website. April 05: Arden Kaywin, who's album was produced by Rudy and mixed by Rob Jacobs (Alanis Morisette, Shakira) was nominated for an L.A. music award. Angie Mattson, who's EP was produced by Rudy wins two L.A. music awards. The song 'Alright' is played on several TV shows. Hanne Boel's album 'Abaco' (Warner Music), co-engineered by Rudy goes Gold in Scandinavia. Drive, cold soul, alright, too much, just like yesterday, hiding cards, my next life, fade away, love is a beautiful thing, my dear, bitter lovesong, 7 miles. Imogen Heap, Miranda Lee Richards, Anna Nalick, Butterfly Boucher, Cat Power, Catherine Feeny, Charlotte Martin, Coldplay, Death Cab for cutie, Death from above 1979, Erin McKeown, Fiona Apple, foo fighters, Gavin DeGraw, Iron and Wine, Jem ,Keane, Kelly Clarkson, Mozella, Hotel Cafe, Sarah Blasko, The Cardigans, Weezer, Sinnead O'Conner. Rudy Haeusermann Biography: Swiss born Rudy Haeusermann is a platinum award winning producer, mixer and engineer. He has produced and engineered for many rock and pop acts and has written with several notable artists since he moved to Los Angeles in 1992. Staff engineering gigs included renown NRG Recording in North Hollywood and Music Grinder Studios in Hollywood where he worked with a slew of well known artists such as Space Monkeys, CelineDion, D Generation, The Wilsons, Matchbox20, En Vogue, Hanson, MC Hammer, Vonda Sheppard, Fu Manchu, and he learned the craft of producing and engineering from the best: Matt Serletic, Phil Spector, Ron Fair, Dave Stewart, David Foster, David Reitzas, Tom Werman, Rick Nowels, John Travis, Steve Lindsey, Sylvia Massy, Stephen Lironi and others. Josh D'Elia is a multi-instrumentalist who has toured nationally, provided music for several indpendent films, and served as a session musician in the studio and on stage at such Hollywood hot-spots as The Roxy, The Viper Room, and The El Rey Theatre. Josh met Rudy at a session in 2001, and began working with him on various projects soon after. Before moving to L.A., Josh honed his skills in Virginia, where he performed regularly on the singer/songwriter circuit. It was there with only a guitar and a microphone that Josh learned the art of crafting a song and bringing it to its full potential. He relocated to Los Angeles in 2001 in order to access a larger music scene. Interview - Aug 22, 2005 “A lot of times I say to the artist: “Put yourself back in the situation when you wrote the song. Maybe you were in love with someone, and now you’re in the studio 5 years later and are kind of disconnected from that emotional situation. I try to get them back to that place when they really felt those things, ” ...says Rudy Haeusermann, producer and/or engineer for Celine Dion, Tina Turner, Snoop Dogg and Arden Kaywin, the HitQuarters Artist of The Week. How did you get started in the music business? Recording was always my hobby. Ever since I first used my grandpa’s reel-to-reel machine I wanted to become a producer. I knew I had to go to LA or New York, and at age 20 I moved to the States. That’s when I got serious about it. I went to a school called GIT, which is a famous musician’s institute. After that I got a job at a studio. I did it the old-school way, where you work yourself up at a recording studio: first you’re a runner and eventually you become a 2nd engineer. I did those jobs for a while at NRG recording and Music Grinder, then I went on to engineering and freelancing. But I started out doing the crappy stuff like making coffee. What key events led you forward? I did a lot of engineering as a 2nd engineer in the 90’s at Music Grinder. At that time there was a lot of rap going on and I was engineering for guys like Snoop Dogg and 2Pac. And you always make new connections. I met Martika’s family, who also managed Martika. They hired me to produce a whole albums worth of material for her. I was networking with a lot of people including Jerry Sharell at Stiletto management, who gave me a lot of jobs. I still work with Jerry. It was never one big thing; it was a lot of small things that just kept and keep evolving. How important is it for an upcoming producer to be in a music centre like L.A? I think it’s very important, because everybody is here. It’s important if you want to meet people, managers and labels. If you're a really big producer with a huge track record, then people will come to you. If you are an up-and-coming producer it’s hard to be out of the music centres. What was your first major label production as a producer? That was a band called Swirl 360. I mixed their demo and afterwards they got signed to Mercury Records. They let me produce a couple of remixes for a remix release. I knew them through their manager Chris Sabec, who also manages Hanson. Hanson recorded at Music Grinder at the time. How did you get in contact with Arden Kaywin, the HitQuarters Artist of The Week? She contacted me. She first started recording with my friend Eddie Chacon (from Charles & Eddie – “Would I Lie To You”). She started working with him as an indie artist who wanted to have some songs recorded. He referred her to me and we started out on a couple of songs at first, and eventually it turned into a whole album. Did she do it all by herself? Yes, this was completely indie from top to bottom. You have to do the groundwork on your own these days. Find your sound, have the songs, do the development for the whole product on your own and make things snowballing from there. She’s got a lot of things going on - opening for D-12 in a couple of weeks. Who was paying the studio time? She runs her own operations. Arden fianced the entire record. Arden Kaywin – Artist Of The Week 25-year old Arden Kaywin’s album, “Quarter Life Crisis” has recently been nominated for a 2005 Los Angeles Music Award for Female Vocalist of the Year. The album is produced by Rudy Haeusermann. Arden is available for record-, management- and publishing deals. Listen to Arden Kaywin – Me With Me How much money do you charge per day in a case like this? It depends. Usually it works the other way around. Out of the budget I have, I decide which studio we go to, which musicians we use and how much time we can spend on things. The bigger the budget, the more elaborate you can get. But you definitely need a decent amount, starting with 20-30,000 for an album. What is the working process like? If you work with artists that are still diamonds in the rough you just start polishing them. You help with the songs, rearrange some things, bend ideas back and forth. You try to get the best out of the artist and find some unique things about them, and find the right sound for them. Much of what the labels did 10 years ago is now being done by producers and artists. You don’t get a record deal as a no-name. You really have to earn it and get it to a point where you start selling records on your own; you have to make a name for yourself, create some kind of buzz about you. All the development is done outside the record companies. This is becoming more and more common. So with the music business changing, I’m doing a lot of development myself. I’ve been working with another artist called Angie Mattson and she is gaining a lot of ground. When did you first hear of Angie? Actually she was one of these artists who contacted me and wanted me to record some demos for her. I thought she was really amazing. So we took it much further then making some demos. Things are still evolving. It’s a process. Did she have a manager at that time? No but we found her a great manager, Michael Hausman, who’s also managing Aimee Mann and Suzanne Vega. Who paid for all the studio time and production? I paid for everything. You make agreements for when things start paying off. You make an agreement to have a bigger chunk on the backend. There are definitely risks you take with those kind of situations, but that’s all part of it. So what does a contract with you look like at this stage, as an unsigned artist? That depends. It can be a 50/50 deal… it’s hard to say. It’s different from artist to artist. It’s a time-limited deal. You make an agreement that says: “We are going to record this many songs and we are going to give it one or two years to shop it. If we can make something happen in that time, great. If not, you are free to move on.” How do you find the right sound for an artist? It’s a process. I usually ask the artist what kind of albums he or she listens to, and I listen to their songs. I also want to find out what kind of person they are. If you know each other a little bit and talk about different ideas you usually arrive at some kind of sound. And of course when you work on the songs, the songs take on a life of their own and take off in a certain direction. Usually a person’s writing style, plus the song itself dictates a lot of it. Are you involved with the songwriting a lot? I‘ve done co-writes with some artists like Deborah Gibson, but mostly I just help the artist tweak a couple of things. Sometimes a bridge isn’t working or there is no bridge and I encourage them to write one. What I do is usually more about fixing the songwriting. Do you get a publishing percentage, if you help with the songwriting? It depends. If I change something that really changes the song, like a melody on a chorus, and it sounds completely different, then of course it justifies a bigger chunk out of the songwriting. But if it’s something small, like a different chord or something, I’m not even going to get into that thing... It’s the artist’s song and I’m here to help and make those small changes. What kind of artists are you looking to produce? I love working with singer-songwriters and rock bands. Luckily the business is kind of turning that way it seems. I love real music, where artists have something to say. The things I don't like are phony, fake songs and artists. What makes an artist special? It’s that certain something. If you meet a person, you see if they have star quality or not. An artist should have a lot of ingredients: talent, a great voice, great songs, and one thing that gets forgotten a lot: he or she has to be really driven. They have to be willing to work really hard. You have to be able put up with a lot of rejection. A lot of people think: “I have a nice voice and look quite decent… somebody will make it happen for me.” But that probably won't happen. How important do you think a musical education is? It can help but it can also hurt. I don’t think it matters at all. Do you listen to unsolicited material? Sure, all the time. Actually one thing we're planning on doing here is starting an indy label. So I’m definitely always looking for great artists. What should a demo from a new artist be like? It can be all kinds. I prefer hearing just one instrument and the vocal, guitar-vocal or piano-vocal. The most important thing is great songs. If the song is great with the guitar and the vocal, then you have a lot to work with. How do you get the best out of an artist? Have a feel for the person, know how to deal with them and work with them. It’s psychology. In the studio you can say something to one artist and it will motivate them, and say the same thing to another artist and it will discourage them. Some walk in and it’s a great take right away; some may sing perfectly in pitch and time but there is not enough emotion behind it. So you try to steer them into the right direction to get some magic takes. A lot of times I say to the artist: “Put yourself back in the situation when you wrote the song.” Maybe you were in love with someone, and now you’re in the studio 5 years later and are kind of disconnected from that emotional situation. I try to get them back to that place when they really felt those things. Make me believe the song! How involved are A&Rs and managers in the production process? It depends. With bigger artists A&R people tend to wanna hang around. Producers usually try to avoid that as much as possible. Too many cooks in the kitchen. But people want to be involved in the process, as they should be. How do you regard the development towards computer-based studios? The landscape is definitely changing. Everybody has their computer setup, which is much more cost-efficient. More records are being made in small spaces and in peoples bedrooms. As a result some studios are hurting. The big studios are still doing well, but a lot of mid-size studios are going under. You can actually get some great studios now for a cheap rate. You still need the big studios, especially for drums. They have all the great microphones and great sounding rooms. Do you record to tape still? Hardly ever, tape is becoming less and less common. Most people I know record to disk. Would you say it’s necessary to have big mixing consoles to mix a song? More and more records are getting mixed in the box. On Arden’s album we had Rob Jacobs (who did the new Shakira album, Alanis Morrisette and others) mix it in the box. He felt that he could get an equally good sound there as he could get in a studio, and he actually even told us later that they tried to beat the mixes on the Shakira album that he did in Pro-Tools on the console. As a listener you get used to the way that sounds and at some point you’re not even able to tell a difference anymore. Personally I prefer going through a console as opposed to mixing it in the box. Is it important to have somebody else do the mix? I mix a lot myself, also records I didn’t produce. But it depends; sometimes it’s nice to have a separate pair of ears doing the mixing. But mixing is definitely one of my favourite things to do. Do you record the musicians playing alongside a “click”? Most of the time. Most popular music tends to be in time. Do you record every instrument solo? If the band plays well together, there is nothing like a great band performance, and you record everybody at the same time. That’s the ultimate. But most of the sessions I’ve done it’s been separated. Maybe bass and drums at the same time, then you add guitars and vocals later. Do you use trigger for the drums? A lot of mixers do sound replacement for kick and snare. I try to stay away from it as much as I can. If what you have doesn’t sound good then that’s one of the tools you need to go to to fix it. I use Drumagog, where you can blend the original signal with the sample. Sometimes you try to find a sound that’s similar to the actual snare-drum sound. Then you can blend the two and have a little more separation still. How often do you go back on a song and make changes again? To me it’s like a good bottle of wine. You want to let it sit for a while and go back to it. But you have to be careful not to do it for the sake of it. You have to have a feel for knowing when something is great. Sometimes it comes out great right away. But most of the time you do go back and try out different things - things that maybe aren’t gonna make the record, but at least you tried. How do you think the music market will change due to the fact that everybody can produce at home? I think it’s great; it makes the business more competitive but also more innovative. There is so much cool stuff out there. But engineering and mixing is a bit of learned craft, and that get underestimated sometimes. Things don’t always sound as great as they could with homemade stuff, so the quality of music may be deteriorating a bit. But overall, I think it's a great thing for music. What was the greatest moment of you music career? That will come - when I get my Grammy. www.angiemattson.com www.sanelikeme.com www.ardenkaywin.com www.eranndd.com www.robzombie.com www.tinaturner.com www.deborah-gibson.com www.stevenkimband.com www.studioexpresso.com www.arigold.com www.126bpm.com So yeah, we produce bands and singer/songwriters and the likes. And mix records. Pretty straigtforward. We do pretty much everything from a-z. We've been lucky enough to work on some very cool projects in the past, so check out the music page or just listen to the sampler playing above. Thanks!Recording with Australia's "Jeapster" at Parrot Studios in Burbank.With Deborah Gibson at Barking Dog Studios.Recording "Jack the Vain" at Westlake Audio.Taking a break from recording ErannDDs album on the island of Curacao.With Angie Mattson at Parrot Studios.At NRG studios with Tom Rothrock and Rob Schnapf (Beck, Foo Fighters, The Vines)Session with "The Wilsons" at Music Grinder Studios. Another session on the islands, this time it was the Bahamas where vocals were tracked for EMI recording artist Hanne Boel's upcoming album. Rudy also finished a remix of Janet Jacksons 'When I think of you' for American Idol third runner up Kimberley Locke for her live performances. He's also producing L.A. based singer/songwriter Dan Sharp, more R&B tracks are in the making for Ghetto Glyphics publishing, a demo for Deborah Gibson for the Broadway show 'Eloise' is done and he's continuning to work on new material with the talented singer/songwriter Angie Mattson. Winter 03/04 Four more songs are done with Angie, check out Angie's website to listen. Rudy also produced singer/songwriter Arden Kaywin, mastered 'Rock me Britney' for Johnny Mazzer which has a lot of people talking, did a club mix for UK based Lysette and recorded a track with San Diego based up- and-comer Amber. In other news, Sony recording artist ErannDD's album 'That's the way for me' recorded and mixed by Rudy went Platinum in Scandinavia after the single 'Didn't I tell you' was at Number 1 for 16 weeks on the Danish charts. Fall 03 The first round of recordings with Angie is completed, please check out www.angiemattson.com. Rudy also produced a club mix for talented singer 'Ryan' for an upcoming Ryko/Warner release, co-produced and mixed 'Going, going, gone' for the San Diego based rock group 'Crying out loud', he's mixing two songs for Danish top 20 artist Henrik Launbjerg, producing for Urban Prodigy Publishing and producing and mixing for N.Y. based singer/songwriter Stephanie who's managed by GMI Entertainment.Summer 03 Rudy is working with the very gifted singer/songwriter Angie Mattson (www.angiemattson.com), one to watch out for! He is also busy producing some hot new tracks ala Frankie J for singer Steve Falcone, a former Lou Pearlman protegee who is now managed by Dauman Music. Beyond that Rudy is producing two songs for an upcoming Made-for-TV movie for the ABC network. The songs are written by Deborah Gibson and will be performed by the lead actress. Spring 03 Haeusermann engineered and mixed Danish #1 artist Erann DD's follow-up album to his hugely successfull 'Still believing'. The album is produced by Eddie Chacon of Charles & Eddie fame, and Poul Bruun and will be released on Sony. Rudy also had the chance to mix a track for the scandinavian legend Kim Larsen's upcoming album. He is also continuosly developing and producing his favorite L.A. band “The Trace”, a nice blend of U2, The Cure, and Radiohead. Electro-Rock band 'Rurik' has released the album 'The Order Of Chaos'. The effort was produced by Rurik and Rudy Haeusermann with Haeusermann and Grammy-award winner Warren Riker mixing. Rudy also had the chance to mix a club track for Lisa Marie Presleys 'Lights out', produced by her keyboard player Paul Gordon. Jeapster getting played on KROQ. Call in to request it!