In the last year of the Hermit, I formed another band called The Joel Plaskett Emergency. I played songs from a solo record I made called In Need of Medical Attention.\u00a0\u00a0It started as a five-piece band with Charles Austin, Tracy Stevens, Andrew Glencross and Dave Marsh on drums. In early 2000, after the Hermit disbanded it scaled down to a three-piece. Dave Marsh was on drums and Tim Brennan on bass.\u00a0\u00a0I continued making music with the Emergency (Chris Pennell now on bass). Plus I was going out on my own, with others and also with my father, Bill.\u00a0I got more involved in producing my records. By 2005 started working as a producer for other artists as well.<\/p>\n\n\n\n
Who would you consider some of your biggest influences when it comes to your \u201csound\u201d?<\/h2>\n\n\n\n
I\u2019ve always been influenced heavily by artists and bands I have known. My former Hermit bandmate, Rob Benvie, is a unique lyricist and his writing influenced mine. Our bass player Ian McGettigan is excellent with sound and spontaneous production ideas. He has influenced my sensibility in the studio. <\/p>\n\n\n\n
Other local influences that come to mind are Sloan, Al Tuck, Matthew Grimson and Dave Marsh (who plays the drums in the Emergency). Also other artists I have worked and played with over the years. Folks like Mo Kenney, Charles Austin, Rose Cousins, Ana Egge, Peter Elkas, Two Hours Traffic, Dennis Ellsworth. <\/p>\n\n\n\n
When I\u2019m in the production chair I learn a lot from the artists I\u2019m working with. When Gordie Johnson (from Big Sugar) produced a record for the Emergency I learned a lot from him. Specifically on the sonic and arrangement front. My wife, Rebecca Kraatz, is a visual artist and her unique aesthetic and taste have influenced me deeply.\u00a0<\/p>\n\n\n\n
As far as classic influences from elsewhere – Led Zeppelin are on the top shelf. Nick Lowe, Joni Mitchell, Bruce Springsteen, Irma Thomas, Curtis Mayfield, Jim Ford, Gillian Welch, Husker Du and Those Bastard Souls come to mind. <\/p>\n\n\n\n
I\u2019m sure I\u2019ve borrowed more than I realise from everyone I\u2019ve mentioned. Though, it may be easier for others to recognize those nods before I do. My hope is that now and then I\u2019m able to juxtapose and counterpoint my influences with something unusual or new. All those little things you learn eventually turn into your \u201csound\u201d. That said, I like flirting with different musical styles on the production front. I think it can be my lyrical perspective that holds things together under one roof.\u00a0<\/p>\n\n\n\n
Explain your creative process. Do you have a routine?<\/h2>\n\n\n\n
I wish I had more routine when it comes to writing but it just comes and goes.\u00a0Full moons seem to be productive lately. I get a lot of ideas in the shower or bath or when I\u2019m walking or driving. Basically, when I can\u2019t have the phone or a book in my hand my wandering mind starts creating something.\u00a0 Sometimes it\u2019s a lyric, a melody or a rhythmic idea. Occasionally I pick up a guitar and the first thing I play turns into something. I have about 1000 voice memos of unused ideas.\u00a0I organise and name them now and then, then revisit them when I\u2019m looking for something to work on.\u00a0<\/p>\n\n\n\n
What is your \u201cstudio\u201d setup?<\/h2>\n\n\n\n
I have a studio called Fang Recording<\/a>.\u00a0It is a commercial space run by our great engineer, Thomas Stajcer<\/a>. I\u2019m very fortunate to have access to the space when it\u2019s not being booked by other artists.\u00a0We are equipped with tape machines and well a computer set up. I love the sound of analog recording so everything I record hits magnetic tape first, using a system called CLASP than allows us to sync the tape machine to Pro Tools. We have an excellent Rupert Neve 5088 console that we track and mix through. The tech at RND told us based on the serial number that it was originally owned by Usher. <\/p>\n\n\n\n I\u2019m useless when it comes to computers and I like to focus on music more than sound so essentially I almost always track with an engineer on board to operate the gear. That said, I love mixing on an analog desk and am very involved with my mixes. Moving faders during the mix, doing little reverb throws etc. As far as gear goes, I really like our Studer tape machines (2\u201d, \u00bd\u201d and \u00bc\u201d), the console, the two EMT plate reverbs and the collection of old guitars and drums that make it on the records.\u00a0<\/p>\n\n\n\n While you can emulate many sounds with computers and plug-ins, I far prefer tactile analog equipment and instruments. I like recordings that sound like the instruments they were made on in the room they were played in. The only downside is much of this gear requires a lot of maintenance and space. <\/p>\n\n\n\n Much of the work I do is in the studio with people. I recently produced a record for a great act from Toronto called Sister Swire. The first three singles are out now.\u00a0Occasionally folks send me tracks to add stuff to or things to mix for them remotely. I mixed records for Boy Golden from Winnipeg, Marian from Fredericton and Graven from Ottawa over the last couple of years.\u00a0Every artist is different and while I have an approach I often take, it really depends on the musician, their temperament and their budget for time.\u00a0<\/p>\n\n\n\n I play stuff for friends when I\u2019m working on it at the studio now and then.\u00a0Occasionally I send demos to other songwriters I know for feedback on whether the tune is connecting the dots. I tend not to share much with others, particularly on the business\/label side, until it\u2019s all mixed and mastered to my satisfaction. People only get that first listening experience once so I like to put my best foot forward, while at the same time sending the message, \u201cOk here it is, it\u2019s done and I\u2019m happy with it.\u201d \u00a0<\/p>\n\n\n\n We are mostly using Dropbox. Works decently although I wish there was a way on one\u2019s iPhone to add a mix or track from Dropbox to the iTunes music library directly. I am pretty lazy and uninterested when it comes to technology and the organisation of things digitally so if I have too many options I get overwhelmed. One thing I know is I hate getting stuff on Google Drive and trying to listen on my phone. Anything that requires memorising more passwords and signing in is a pain. <\/p>\n\n\n\n With Byta you are in control of your music. <\/p>\n Read More<\/span><\/a><\/div>\n\n\n\n I\u2019m not sure it ever is. While chasing the \u201cdefinitive\u201d version of a song was something I pursued more when I was younger, recently I\u2019m of the mindset that if you can find a version of the song that feels great that day, and it still feels effective a week later, then you are probably on to something. The songs morph once they go out into the world and I\u2019m prolific enough that I\u2019d rather keep songs moving through my world rather than overwork them. <\/p>\n\n\n\n That said, there are times when a song feels catchy enough that I want to go the distance to capture it in a way that could reach people more directly. If I\u2019m producing other artists I\u2019m game to chase a big polished arrangement when the song really calls for it but it depends on what the artist wants to achieve and how much time they have to commit.<\/p>\n\n\n\n I listen to my final mixes in the studio and often when I get mastered audio (usually from J Lapointe at Archive Mastering<\/a>) I just listen on headphones or in the car. <\/p>\n\n\n\n Personally, I\u2019m not hugely concerned about it as usually what I\u2019m working on is only shared with a few people who I know won\u2019t fly it onto the internet before it\u2019s released.<\/p>\n\n\n\n I often share final mastered versions with my bandmates or other folks who played on the recordings, a few musician friends I like to bounce things off and my manager, Sheri. I\u2019ll sometimes send mp3s to folks who I know will only listen on their phone through the crappy speakers but tend to send WAVs mostly. Kim Cooke released my last number of records on the Pheromone label (which he recently sold). He\u2019s been a great supporter and in my corner since he brought me to MapleMusic in the mid-2000s.\u00a0He\u2019s got great ears and has a part in Revolution Recording<\/a> in Toronto.<\/p>\n\n\n\n We often generate SoundCloud private links for streaming but I don\u2019t know how to do that and leave it to my team to sort. Sheri will often take the recordings to the label and publicity folks once it\u2019s ready to hatch but I leave it to her to sort how that is being delivered. That said, I\u2019m always suggesting WAV file<\/a> listens before MP3s.<\/p>\n\n\n\n I\u2019m back on the road playing shows with some this summer and a full national Canadian tour in September\/October.\u00a0 Check my site for details.\u00a0\u00a0<\/p>\n\n\n\n I\u2019ve also been collaborating with folks at the studio and making some of those sessions exclusive for my Patreon subscribers. Here\u2019s a link<\/a> to a unique, improvisational session with the great piano player, Bill Stevenson. <\/p>\n\n\n\n And here\u2019s another link<\/a> to a collaboration with my friend, Erin Costelo<\/a>, a stellar singer, songwriter and producer.<\/p>\n\n\n\n I\u2019m also writing some new music but not in a big rush as my last quadruple record, 44 was an adult portion. <\/p>\n\n\n\n![\"Joel](\"https:\/\/byta.com\/blog\/wp-content\/uploads\/2022\/07\/JP2-studio.jpeg\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/byta.com\/blog\/wp-content\/uploads\/2022\/07\/JP1.jpeg\")
<\/figure>\n\n\n\nWhat is your process when working with other people? How is collaboration different in the studio vs working remotely? <\/h2>\n\n\n\n
At what point(s) are you comfortable letting other people hear what you are working on?<\/h2>\n\n\n\n
Do you share your work in progress (streams or downloads)? Any technical frustrations? <\/h2>\n\n\n\n
Byta delivers fast and secure audio sharing<\/h3>
How do you know when a track\/album is finished?<\/h2>\n\n\n\n
How do you listen to the final mixes\/mastered work?<\/h2>\n\n\n\n
How important is pre-release security<\/a> when sharing new work? <\/h2>\n\n\n\n
Who on your team gets to hear the final versions first and why, what formats do they each need?<\/h2>\n\n\n\n
Outside of your inner circle who are the people that will need to hear the new tracks next?<\/h2>\n\n\n\n
Anything you are working on, anyone you are working with and want to share? <\/h2>\n\n\n\n
![\"\"](\"https:\/\/byta.com\/blog\/wp-content\/uploads\/2022\/07\/JP4.jpeg\")
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