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Working Class Audio: Daily Summaries Delivered
by Working Class Audio
Peel back the glamour of the professional recording world. Guests from the world of audio for music, film, games, restoration, and more share their insights on how they made their journey, how they survive, their advice on the real things including wins, losses, working with other people, money, and career advice. Hosted by audio engineer Matt Boudreau. The Working Class Audio Podcast - Navigating the World of Recording with a working class perspective.
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- 1 weeks ago50 min
WCA #618 with Chris Dacoron: From Boy Band Singer to R&B Mix Engineer, the Artist Vision Form, and DMing Artists the Right Way
For episode 618, Matt talks with Chris Dacoron, a Bay Area mixing engineer working mainly in R&B, pop, and hip hop. Chris runs his mix business, Skye Heart Sound, out of his home studio in Martinez, California, and has been at it for over 20 years. The two met at a Bay Area Audio Nerds gathering. Chris started out as a singer in an R&B boy band that moved to Los Angeles in 2004, became an accidental studio assistant along the way, and switched to engineering full time when the group broke up in 2006. They talk about learning by level-matching his mixes against finished records, the Auto-Tune idea he shot down years before T-Pain, the artist vision form that cut his revisions to one or two, going hybrid after one hardware EQ changed his mind, saving rough iPhone vocals, why networking in person still matters, and how to DM artists without sounding like a car salesman.In This Episode, We Discuss:Growing Up in the Bay Area Singing Along to Boyz II MenForming an R&B Boy Band and Moving to Los Angeles in 2004Winning a Talent Competition and Becoming a Studio Assistant Nobody Was Looking ForThe Group Breaks Up in 2006 and the Clean Cut to EngineeringComing Home to the Bay Area and Building a Freelance Career Through Word of MouthSetting Rates in the Middle Based on What Outside Engineers ChargedLearning From Claudio Cueni, Tony Shepperd, and Ken LewisLevel-Matching Mixes Against Finished Records to Learn What a Final Sound IsAlways a Student: R&B Sounds Change Every Five YearsThe Auto-Tune Idea Chris Shot Down Before T-Pain Made It a HitThe Artist Vision Form: Understanding the Artist Before Moving a FaderHandling Revisions as a Collaboration Instead of a CritiqueGoing Hybrid After One Hardware EQ Changed EverythingMaking iPhone Vocals Sound Like a Real Studio: Silver Bullet, Saturation, and ExpansionMatt’s Tip: Cleaning Up Rough Vocals With Adobe PodcastMoney: Balancing Gear Spending With Marketing YourselfTry Everything: Networking Events, SoundBetter, Websites, and DMsGet Out of Your Herman Miller Chair and Meet People in PersonHow to DM Artists: Do the Work, Make It Personal, Don’t Sell Right AwayWhy AI-Written Pitches Are Easy to SpotMatt’s RANT!: Stop Asking for PermissionLinks and Show Notes:Skye Heart Sound (Chris Dacoron)Skye Heart Sound on InstagramAdobe PodcastCredits:Guest: Chris DacoronHost/Engineer/Producer: Matt BoudreauWCA Theme Music: Cliff TruesdellThe Voice: Chuck Smith
- 2 weeks ago1h 2m
WCA #617 with Anthony Gravino: Leaving Chicago, High Cross Sound, and Building the Studio You Want to Work In
For episode 617, Matt welcomes back Anthony Gravino, musician and recording, mixing, and mastering engineer, nearly a decade after his first appearance on WCA 137. In 2020, Anthony sold The Drake, his Chicago studio of 14 years, bought a converted 1940s horse barn just outside Urbana, Illinois, and turned it into High Cross Sound, a 2,100 square foot studio and home. They talk about why he left Chicago, what drew him to the barn, tracking 14 straight days with Kurt Elling and Charlie Hunter three months after moving in, the Champaign-Urbana music scene, and the business side of owning, living in, and working out of the same building.In This Episode, We Discuss:14 Years in Chicago: The Drake Studio on Drake AvenueWhy Anthony Left: Gentrification, Property Taxes, the Pandemic, and Seeing the Right Property at the Right TimeThe Old Horse Barn: 25-Foot Peak Ceilings, Curved Wooden Walls, and Listening to Drums Before SigningBuilding High Cross Sound: Control Room, Isolation Booth, and Wiring a Former Home Into a StudioKurt Elling and Charlie Hunter: 14 Straight Days, Three Months After Moving InThe Psychology of Vertical Space and Natural Light on MusiciansChampaign-Urbana: REO Speedwagon, the Rose Bowl Tavern, and a Music Scene Bigger Than Its Studio SupplyMoving During the Pandemic: Every Session Canceled in March, Perfect Time to Be Out of CommissionSelling the Chicago Building After Buying in 2006, Financing at 2.5% InterestDropping the API Console, Going to a Small Mixer and Outboard PreampsKeeping the Rate, Then Raising It When He Saw What Others Were ChargingIsolated Ground, a Private Transformer Shared With Three Houses, and a Quieter Noise FloorLiving and Working in the Same Building: Tax Advantages When 80% Is Studio SpaceMusic Videos, University Work, and the Snowball Rolling Down the HillThe Pool: More Romanticized by Clients Than Actually UsedMatt’s RANT!: Your MindsetLinks and Show Notes:Anthony Gravino on Instagram: https://www.instagram.com/anthonygravino/Anthony Gravino on Bandcamp: https://anthonygravino.bandcamp.comWCA Episode 137 with Anthony Gravino: https://www.workingclassaudio.com/wca-137-with-anthony-gravino/Credits:Guest: Anthony GravinoHost/Engineer/Producer: Matt BoudreauWCA Theme Music: Cliff TruesdellThe Voice: Chuck Smith
- 2 weeks ago44 min
WCA #616 with Sylvia Massy: Microphone History, the Bob Paquette Collection, and The Great Book of Vintage Microphones
Sylvia Massy returns to Working Class Audio for the first time since Episode 14 back in 2015. She joins Matt from her studio in Ashland, Oregon to talk about her new book, The Great Book of Vintage Microphones, co-authored with Chris Johnson. To write it, Sylvia and Chris acquired the entire estate collection of Milwaukee radio legend Bob Paquette: 3,500 microphones kept together rather than cherry-picked apart. The book covers 100 years of microphone history, from David Edward Hughes's 1877 burnt-stick carbon transducer to the ribbons and condensers most engineers grew up with.In This Episode, We Discuss:The Studio in Ashland: Converted Radiator Shop, Five-Bay Garage, Concrete ConstructionChris Joshnson: Co-Author, Life Partner, and the Man Who Negotiated a Microphone MuseumBob Paquette's Collection: 3,500 Mics, Milwaukee Radio History, and Keeping It TogetherThe First Microphone: David Edward Hughes, 1877, a Burnt Carbon StickCrystal Mics, Carbon Telephone Elements, and Technology That Lasted Into the 1990sCondenser Development: From a Wooden Box Power Supply Down to the Pencil Condensers We Use TodayThe First Directional MicrophoneA Condenser That Went to the South Pole With Admiral ByrdThe Glow Discharge Mic: Plasma Between Two Electrodes, Banned After 1928Art Deco Mics That Looked Like Spaceships and Sounded Worse Because of Their CasesWestern Electric Birdcage, Tadpole Mics, Bakelite, and the 1947 Astatic 600SThe ChicLet: Color OptionsPearl Mics From Sweden and the 6102 RFPSylvia's Favorite Mic for Female VocalMicrophone Seeds: Ribbons, Dynamics, and CondensersMatt’s RANT!: Client Mix Approval ServerLinks and Show Notes:Sylvia MassyPreorder The Great Book of Vintage MicrophonesWCA Episode 14 with Sylvia Massy (2015)Credits:Guest: Sylvia MassyHost/Engineer/Producer: Matt BoudreauWCA Theme Music: Cliff TruesdellThe Voice: Chuck Smith
- 4 weeks ago1h 6m
WCA #615 with Michael Frondelli, Part 2: Los Angeles, Capitol Records, Big Bad Voodoo Daddy, and the Long View on Audio
For episode 615, Matt concludes his two-part conversation with Michael Frondelli, picking up in Los Angeles where Keith Forsey and Richie Zito brought him west. Michael landed at Giorgio Moroder’s Oasis Studios, where he worked on the Breakfast Club soundtrack, Beverly Hills Cop, and the world premiere digital playback of Moroder’s restored Metropolis. He went on to eleven years as Vice President of Capitol Records Studios, where his first artist was Frank Sinatra and he quietly produced Big Bad Voodoo Daddy on a $100,000 investment that grossed $7 million. They also talk about AI and copyright, the importance of pre-production, apprenticeships in audio, network as the real currency of a career, and what Phil Ramone told him about what recording engineers actually do.In This Episode, We Discuss:Moving to Los Angeles via Keith Forsey and Richie ZitoGiorgio Moroder’s Oasis Studios: Breakfast Club, Beverly Hills Cop, and Three Films at OnceThe World Premiere Digital Playback of Moroder’s Restored MetropolisEast Coast vs West Coast Recording CultureKeeping an Apartment in Brooklyn and One in LAVP of Capitol Records Studios: How He Got the JobLearning to Run a $5 Million BusinessThe First Business Plan Ever Written for Capitol StudiosFrank Sinatra as the First Artist: Phil Ramone, Al Schmitt, and Building a Custom Vocal BoothUnion Negotiations, Health Benefits, and Taking Care of the StaffBeing Told He Was Too Old to Start a Label at 44Big Bad Voodoo Daddy: $100,000 In, $7 Million Gross, 500,000 Records by MayCrowded House, Gary Stamper, and Don’t Dream It’s OverAI, Copyright, and Why You Must Register Before You Use the PlatformApprenticeships, the Music Producers Guild, and Passing It OnNetwork as the Real Currency of a CareerStill Working: James Gadson, Autism Speaks, and Making RecordsMatt’s RANT!: Matt’s DadLinks and Show Notes:Michael FrondelliWCA #614 with Michael Frondelli, Part 1Vincent Boudreau — ObituaryCredits:Guest: Michael FrondelliHost/Engineer/Producer: Matt BoudreauWCA Theme Music: Cliff TruesdellThe Voice: Chuck Smith
- Sep 22, 202654 min
WCA #614 with Michael Frondelli, Part 1 – Astoria, R&B Days, Salsa Nights, and Electric Lady
For episode 614, Matt talks with Michael Frondelli, producer, engineer, and former Vice President of Capitol Records Studios, where he ran the facility for eleven years before going independent in 2001. Michael grew up in Astoria, Queens. Tony Bennett took vocal lessons with his Uncle Sal. The Walken family ran the bakery on Steinway Street. He came up playing guitar in soul bands and rock bands in the 60s, studied business in college, landed a maintenance tech job at Broadway Recording on 1697 Broadway, and from there made his way to Electric Lady in November 1975, where he spent nine years. This is Part 1 of a two-part conversation.In This Episode, We Discuss:Growing Up in Astoria, QueensMusic in the Family and Learning GuitarSoul Bands, Rock Bands, and the 60sCollege, the Draft Lottery, and Moving to ManhattanCarpentry, Soundproofing, and Finding a Way Into RecordingBroadway Recording at 1697 BroadwayLearning to Listen, Watch, and Visualize Signal PathLanding at Electric Lady in 1975Nine Years in the Room: Zeppelin, Chick Corea, Jaco Pastorius, Joni MitchellWorking With Eddie Kramer on Song Remains the SameRebel Yell: Finding Billy Idol a DrummerKeith Forsey, Charlie Sexton, and Don't You Forget About MeGetting Management and Learning the BusinessGoing From $5 an Hour to $2,500 a MixMatt's RANT!: Revisiting Backing Up and ArchivingLinks and Show Notes:Michael's siteCredits:Guest: Michael FrondelliHost/Engineer/Producer: Matt BoudreauWCA Theme Music: Cliff TruesdellThe Voice: Chuck Smith
- Sep 15, 20261h 6m
WCA #613 with Ben Mellott – Northern Virginia, Church Sound, Farm Festivals, and Profit First
For episode 613, Matt talks with Ben Mellott — recording engineer, mixer, and owner of Nothing But Noise studio in Northern Virginia. Ben has been freelance since 2014, balances studio work with live production at churches, farms, and local venues, and runs every dollar through the Profit First system. They talk about building a career on curiosity, the alternative path through cassette manufacturing and church sound, and why the business side of audio doesn't sound like fun until it absolutely is.In This Episode, We Discuss:Northern Virginia, Born and RaisedA Dad at Toys R Us and a Mom in the Church ChoirRecording Bands on a Tascam Four-Track at Ten Dollars a SongThe Recording Workshop in Chillicothe, Ohio — Audio Boot CampLearning Signal Flow Before HardwareManufacturing Cassettes and CDs at Lion RecordingMoving Into Graphics — Quark Express, InDesign, and Terrible Early WebsitesRoadie and Merch for a Month-Long US Tour With FrotisGetting the Farm Festival GigTen Years of Sunday Church Sound — and What He Learned About TemperamentThe Drummer in the Crowd Who Got Him the Venue GigReal-Life Social Proof — Likable Enough (For a Live Sound Guy)Curiosity as a Career StrategyNothing But Noise — The Studio and the Freelance Life Since 2014Debt, an Inheritance That Didn't Change the Slope, and the PandemicImplementing the Profit First SystemOf Every Thousand Dollars, Only $150 Is Spendable — and Why That's the PointSelf-Financing Gear and Paying Yourself Back on a Payment PlanThe Sweetwater Rep Who Said You've Got a Lot of GearThe Business Side Doesn't Sound Like Fun Until It IsMatt's RANT!: Doing Things the Alternative WayLinks and Show Notes:Profit First — Mike Michalowicz (book)Profit First — Audiobook on Libro.fmWCA #133 with Alan EvansWCA #328 with Alan EvansWCA #576 with Alan EvansCredits: Guest: Ben Mellott Host/Engineer/Producer: Matt Boudreau WCA Theme Music: Cliff Truesdell The Voice: Chuck Smith
- Sep 8, 20261h 10m
WCA #612 with Brian Starley – Utah, Cartage, Building a Studio in LA, and Relationships Before Gear
For episode 612, Matt talks with Brian Starley recording and mixing engineer based in North Hollywood, California, and owner of Bergatron Music Studio. Brian grew up in Salt Lake City with a dad who transferred vinyl to cassette for the car, chased a hockey career to Ontario, came home to Utah without a plan, and found recording through a coworker who'd interned at the Blasting Room. After learning Pro Tools at twenty bucks an hour and getting out of Utah in 2005, he landed at Musicians Institute in LA and then at Lon Cohen Studio Rentals a cartage company where he spent six years moving Tim Pierce's guitars and Mike Elizondo's Logic rig around the city. After going freelance in 2013, he built a YouTube live session channel, had his busiest mixing years during COVID, and then spent the better part of two years fighting LA permits, tariffs, and a construction crew to build his dream studio — refinancing the house to do it. They talk about what cartage taught him about gear and sessions, the mobile recording revelation that shaped his whole approach, building a studio in 2025 LA, the stress that put him in the hospital with diverticulitis, and why you should focus on relationships before gear.In This Episode, We Discuss:- Growing Up in Salt Lake City, Utah — The Zion Curtain- A Dad Who Transferred Vinyl to Cassette and Filled the Car With Music- Hockey, Rage Against the Machine, and a Dream of the NHL- Moving to Shelburne, Ontario to Play Junior Hockey- Coming Home to Utah and Finding Construction Work for His Dad- A Coworker From the Blasting Room Who Changed Everything- Learning Pro Tools at Twenty Bucks an Hour on a Digi 001- Getting Into Trouble and Getting Out of Utah — Moving to LA in 2005- Musicians Institute and Finding the Path Into Recording- Landing at Lawn — a Cartage Company for LA's Top Session Musicians- Tim Pierce, Joe Chiccarelli, Abe Laboriel Sr., and What Cartage Taught Him- Mike Elizondo's Logic Rig and the Mobile Recording Revelation- Scab Dates, Church Choirs, and Recording With a Handful of Mics- Post Production School, Roger Nichols, and Getting Certified in Pro Tools- Going Freelance in 2013- Live Sessions at Custom Vintage Keys With JJ Blair and the Boba Jam Channel- The Decision to Build a Studio — and Reaching Out to Josh Nyback in 2023- Two and a Half Years of Permits, Hidden Fees, and LA Bureaucracy- Refinancing the House to Fund the Build- Tariffs, Construction Costs, and Watching the Budget Disappear- Supervising a General Contractor Who Didn't Know What a Studio Was- Isomax Clips, Green Glue, and Checking Every Screw- Diverticulitis in November From the Stress of the Build- His Wife Allie — The Person Who Got Them Through It- Crying in the Finished Room When They First Put the Speakers Up- California Disability Insurance for Freelancers — and the Scott McDowell Episode- You Don't Need All the Gear — Build Relationships First- Support the Ecosystem — Book Studios, Pay for MasteringMatt's RANT!: Things Matt Is DoingLinksBergatron MusicBrian Starley – Credits (Muso.ai)Brian Starley (Instagram)Brian Starley (TikTok)Bergatron Music – Studio Build Videos (YouTube)Josh Nyback – Nyback BuildsNyback Builds (Instagram)WCA #611 with Scott McDowell — California Disability InsuranceLibro.fm — AudiobooksFour Thousand Weeks — Oliver BurkemanM-DISC — WikipediaSteinberg SpectraLayersCredits:- Guest: Brian Starley- Host/Engineer/Produce
- Sep 1, 20261h 8m
WCA #611 with Scott McDowell – Berklee, California vs New York, Getting Fired, Becoming a Studio Partner, and Getting Hit by a Car
Scott McDowell is a producer, engineer, and co-owner of Wally's Hydeout at Hyde Street Studios in San Francisco. In episode 611 they talk about getting fired from his first SF internship, becoming a studio partner at Wally’s Hydeout, surviving COVID, getting hit by a car in March 2026, recovering from a TBI, and why every freelancer in California needs to sign up for state disability insurance before something happens.In This Episode, We Discuss:Co-owning a Studio, Making Records, and Working in Game AudioGrowing Up in Novato — North Marin CountyA Broadcast Engineer DadWorking Niners Games on the SidelineHeading to Berklee for TrumpetA Hernia That Ended the Trumpet Career and Started the Recording OneCity College SF, SF Soundworks, and Getting FiredJohn Vanderslice, Tiny Telephone, and the Referral to Justin PhelpsInterning at Hyde Street Studios With Justin Phelps and Jaimeson DurrFilling the Calendar for Six Months to Avoid Being Replaced — Then Getting Made a PartnerThe CDR Run That He Thought Was a FiringEight Years of Game AudioCOVID SurvivalGetting Hit by a Car in NorthridgeThe TBI, the Wheelchair, and Coming BackCalifornia Disability Insurance Elective Coverage — Why Every Freelancer Should Sign UpMatt's RANT!: AccumulationLinks and Show Notes:Fader Solo: https://fadersolo.com/California Disability Insurance Elective Coverage (EDD): https://edd.ca.gov/en/payroll_taxes/Disability_Insurance_Elective_Coverage/WCA #082 with Justin Phelps: https://www.workingclassaudio.com/wca-082-justin-phelps/WCA #211 with Jaimeson Durr: https://www.workingclassaudio.com/wca-211-with-jaimeson-durr/WCA #047 with John Vanderslice: https://www.workingclassaudio.com/wca-047-with-john-vanderslice/Credits:Guest: Scott McDowellHost/Engineer/Producer: Matt BoudreauWCA Theme Music: Cliff TruesdellThe Voice: Chuck Smith
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About Working Class Audio
Peel back the glamour of the professional recording world. Guests from the world of audio for music, film, games, restoration, and more share their insights on how they made their journey, how they survive, their advice on the real things including wins, losses, working with other people, money, and career advice. Hosted by audio engineer Matt Boudreau. The Working Class Audio Podcast - Navigating the World of Recording with a working class perspective.
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