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AES PNW Meeting - March 12, 1997
SPARS/AES Recording Panel



The panelists were:

Steve Lawson, Bad Animals, Seattle
Peter Lewis, Audisee, Seattle
Kearney Barton, Audio Recording, Inc., Seattle
Peter Barnes, Clatter & Din, Seattle
John Goodmanson, John & Stu's Recording Place, Seattle
Glenn Lorbiecki, Glenn Sound, Seattle
Chairman Dan Mortensen opened the meeting, and had the audience introduce themselves.

Steve Lawson described SPARS (Society of Professional Audio Recording Services), which is an organization that helps studios run their business. He mentioned that a SPARS Timecode Primer is coming out soon. Peter Lewis also noted that SPARS helps bridge manufacturers and studios. Steve said that the SPARS test would be back after initially being judged as a bit hard. Schools can administer the test so students can judge their knowledge. Internship grants are also available.

PNW Committeeman Barry James acted as moderator, and started by asking Kearney Barton about early recording in Seattle in the 1950s. Recording was initially mono, then 2 track with the vocal and music on separate tracks. Kearney related anecdotes of notables such as the Ventures, the Wailers and Jimi Hendrix.

Then each panelist gave their account of how they came to Seattle and got into the sound business. Peter Lewis came to Seattle about 25 years ago from New York, worked at studios like Kaye-Smith and eventually started Audisee. Steve Lawson started in radio as a child - running his own 100 mW transmitter souped up to illegal wattage. After getting his Communications degree from the University of Washington, he worked at KING radio, and found he liked production more than being on-air. He did productions for KING, then started his own company, which grew into Bad Animals Studios. John Goodmanson ("I'm a kid, compared to everyone else here..") came from the Evergreen State College, worked at several studios until forming John and Stu's Recording. Peter Barnes recalled how he recorded things as a child, and made tapes for his town square in Iowa. He toured as a jazz, then rock drummer out of school, and moved to the west. His band started a studio which became popular among other bands. He worked many local studio jobs until starting his own, Clatter and Din. Glenn Lorbiecki also came from the midwest, Wisconsin. He was interested in audio as a child, and eventually became a guitar player. Lake Geneva happened to have a major recording studio there. After initially being tossed out after naively offering to be their session guitar player, he answered an ad to be the janitor there. In a year, he was chief engineer. He did live tour sound, and ended up in Seattle. He produced lots of background music, and since there wasn't a place where he could do everything he liked to do, he started Glenn Sound.

The Seattle recording market was compared to other markets. Peter Lewis commented that most cities of this size have similar markets of varied work - where the big markets like L.A. and New York have the big share of entertainment recording. Steve Lawson noted that post production work was as competitive here as anywhere. The music business is controlled in New York, and local recording is cyclical - whatever's hot is active. Panel members and the audience discussed project budgets and producers.

Peter Lewis noted how he was in L.A. and wasn't able to get a studio with 4 surround channels (LF, RF, LR and RR). The best he could get was LCRS. Peter Barnes felt Seattle was more diverse and high-tech, with a can-do attitude. Glenn Lorbiecki stated that in the 80's, Seattle had more DAWs than anyplace else on earth. Lawson noted that many small boutique facilities in L.A. are doing well, and taking a lot of business away from the big studios. Specialization and focus of a facility will be the key to future success.

What are some pluses and minuses of project studios? It really enabled many in the panel to start their own viable businesses, but it really hurts the traditional studio. Lawson noted that any studio needs to be able to adapt to change, because change will happen.

Disagreements were made about higher quality of project studio product, but some felt that many projects were not any better in spite of the fancy new low cost recording equipment. Musicians felt that the new equipment helped develop their creativity. Lawson commented that equipment is often overrated - a good engineer can get good recordings with basic equipment. Some panelists did say that their DAWs did not sound as good as analog. Kearney Barton felt that there have always been bad recordings - you can't blame it on the equipment of any era. The panel agreed that the gear are just tools - you use the right thing for the job, as well as you can. Analog was still lauded. Panelist noted that Audio Engineering was a lifelong learning commitment.

In answer to the question, "What do you see a need for in Seattle's recording industry?" More business! There's a glut of facilities now, but it's cyclic.

Specific audience questions were fielded, with comments on the use of automation on various projects, about raising a generation of listeners used to mediocre recordings, and equipment standards?

Steve Lawson felt that movie sound has created a better awareness of good sound. Many were impressed with the Lucasfilm 1-800-CALL-THX program they had seen on films recently.

A question was asked on what's the future of multichannel sound such as 5.1? With many competing formats and delivery methods being promoted, whoever gets widespread broadcasting may be successful.

Where to learn audio? Barnes has an internship program. Lawson felt that there seemd to be fewer people with the real "burning desire" anymore. He elimated their intern program, partly because of legal and no-pay problems.

NARAS Pacific NW Executive Director Mary Truscott was there and announced that she was establishing a NARAS (National Academy of Recording Arts and Sciences) office in Seattle and actively seeking members. She could be contacted at 206-236-2658 or Email at .

Report by Gary Louie, AES PNW Section Secretary louie@u.washington.edu