Good Afternoon class, for my presentation I would like to have a bit of audience participation, so I have decided to present the producer I have chosen in a spicks and specks type manner…..and it involves chocolate!!!
So I am going to ask a series of questions and I want to see if anyone can guess them correctly….they are either to do with the producer or the bands they produced…..if you know the answer then shout it out and you will get a chocolate!
Q1.) Which producer am I?
I was born in Illinois, USA. After graduating in 83, I moved to Los Angeles and got a job working as a secretary at Capitol Records. I then briefly moved to London where I worked with Hugh Harris of The Kooks. On my return to the United States, I began working for producer Daniel Lanois at Kingsway Studios in New Orleans.[4] In 1992 I became the studio's house engineer.[5] My break came in 1995 when Sheryl Crow fired her producer and hired me to produce her debut album Tuesday Night Music Club. In 98 I became the first woman to win the Grammy Award for Best Engineered Album for my work on The Globe Sessions.
-I AM TRINA SHOEMAKER, and contrary my surname suggests i am a producer, mixer an engineer.
Q.2) Here are some songs from bands that Trina Shoemaker produced.
Can you guess what bands they are???
This artist was produced in 1998- Sheryl Crow
Trina produced this band in 2003, can you guess what band it is??- Something for Kate
This band was produced in 2003- The Dixie Chicks
This band was produced in 2005- Queens of the Stone Age
Q.3 ) Later I will show you a video clip where Trina talks about her mix and production techniques but generally Trina’s philosophy to get a great sound is..she says…
“People have trouble getting good sounds because they mess with it. They get it in their head that they have to change it some way—they’ve got to roll something out, or add something in. Just put a microphone in front of a guitar amp, walk into the control room and turn the preamp up good and loud, shove it through a compressor if you want some extra gain—don’t compress it, just use it to get some extra gain—and send it to the recorder. Done. Truthfully, any mic is going to sound great if you place it in front of a great amp getting
