"A friend recently put an album proposal on kickstarter. Three weeks of social networking almost full time raised $800. An article in the New York Times raised $10,000 in a few hours.
There's a reason GM is dropping facebook advertising..."
"People forget that the US military built the internet as a secure communications infrastructure for wartime use. The mythology of it being "free and uncensored" is kind of mind-boggling. Google censors our searches every time for…"
"As far as I know, Google and a lot of other tech stocks have never once paid their stockholders a dividend. Stop and think about that fact for a moment. Just let it percolate in your mind a bit.
WHY DOES anybody invest a dime in Google?
"Audio-centric hardware is always dependent on mass produced consumer technology for its component parts.
The line between hardware and software is mostly dictated by economics. Computers are cheap enough at this point that they can be included in…"
A hands-on evening with Harrison's new products: the 4-era 8-channel "Lineage" mic preamp; the 950m Console; and Mixbus, Harrison's new DAW.Harrison's rich legacy in the music industry began in the 1970's during a critical time in the development of music recording. For the next 2 decades, the all-important Album was the focus of a group's artistic expression. ABBA produced all their hits on their Harrison console at Polar Studios. Michael Jackson's "Thriller" and "Bad" albums were both…See More
I started in pro audio when I was 16. Facilitated by a brand new driver's license, I showed up one Saturday on the doorstep of United Sound in Detroit. A hundred Saturdays (and burgers with the chief engineer) later, I had my first job in a studio. At the time United Sound was the largest independent studio in Detroit and my audio education was enriched by listening to discussions among the engineers in the United Sound shop, and watching artists like George Clinton, Johnny Taylor and Barbara Lewis record hit records. It was the guys at United Sound that suggested I go to a recording studio I had never heard of to look for a job after my first year in college. And so a year later as a nineteen year old I joined one of the most creative and unique recording environments ever: Motown Records. At Motown I started as a mastering intern and later moved into the recording studio, working on hit records for Stevie Wonder, Marvin Gaye, and a host of other legendary Motown artists. By the time I left Detroit in 1972, I had been directly involved in 48 number one singles.
My interest in working with rock bands grew out of working with Motown’s Rare Earth, followed by work with a veritable Whose Who of the leading British rock producers from the 1960s. And when it became obvious Motown was leaving Detroit, I moved to San Francisco where my west coast adventures included everything from classical albums for Harmonia Mundi to Quicksilver Messenger Service, and the Grateful Dead. In 1991 I immersed myself in digital audio and moved into mastering with a natural progression into work in film, video, and multimedia. As an early adopter of digital editing for motion picture post production and surround sound, I worked with Andy Wiskes to introduce the gang at Skywalker Ranch to Digidesign.
I offer my audio expertise and mastering services through Bob Olhsson Audio and Georgetown Masters in Nashville, TN.