So how did you get started in the biz?

Well, growing up in Rochester, NY, I was interested in music, electronics and recording when I was a kid. I had a little studio in my parent's basement when I was in high school, back in the late 60's. Actually, I worked at a hi-fi store, and I bought everybody's old stuff that they brought in! Ampex used to make some home series of tape machines, which were used in language labs and such. They weren't good machines, but I got a couple of them really cheap. I even had some old Ampex tube mixers, which were sort of nice back then. I also had some Sony mics (the C-22), and some EV's and Shures'. Later I got a Revox, then a Scully 4 track half-inch and I even built a little console for it all.

Eventually, I moved out of the basement and joined up with some other guys. We got an 8-track machine and did some records and jingles. Then, I met Chuck Mangione, who was also from Rochester. So I started doing some recording for him and even some road sound. Then, when he signed with A&M, we went out to LA. At that point, I used to go out there and track his records. I eventually moved out there in 1978 and just started from there.

How did you career move up from there?

Well, I was working in LA for a lot of people. I was even working for Quincy Jones for a while, which was a great experience. I also worked for Walter Afanasieff as well. I met him through Michael Bolton, because I did a lot of work for Michael when he was a producer. A lot of people didn't know he was a producer, but he produced Cher and such. I did some mixes for Michael, and Tommy Mottola heard them and then wanted me to mix Mariah Carey, who Walter was also producing. So Tommy wanted me to move to New York at that point. I almost didn't take it, but then the earthquake hit in '94 and I called him and ask if the offer was still open!

So at that time, the business was raging. What was it like then?

Yea, it was great. Everyone was treated great and we all thought it would last forever. Everyone involved in it was making a ton of money and there were lots of perks. Funny, the whole thing crashed and I ended up with a studio.

When did it crash in your opinion?

A lot of people said 2001, but I really didn't notice a lot of change until 2003. I actually think it's leveling off now, and I hope it might even be getting a little better. It just doesn't seem there is as many of the high budget projects anymore. Even the high budget ones are much lower budgets than they were, and now everything has changed with people working at home, etc.

Yea, its now producers with home studios doing much of the biz...

Yes, everyone is working in home studio by themselves or with just a couple of people. There isn't the camaraderie, feedback, the meeting and connecting with new people as there was when working in these multi-room facilities. Back then, there were different sessions going on in the rooms and I've gotten so many gigs by meeting someone in another room who asked if I could do this or that for them. The business grew like that and there was a lot of cross-pollination. It was also really good for the music and the business. A lot of that is gone.

So how do you stay in love with the music business?

I'm not in love with the music business, but I'm in love with the music and my craft. Even though the way it's done, and the compensation and even the whole attitude has changed, it's still something I can get lost in.

And things like this Seal project comes across your desk?

Yes, like this project that has great musicians, a great producer and it's a great track. There are still things out there that make it worth it. For example, I'm negotiating for an indie project that's not going to be a major deal, but I like the music and I like the people. The music makes it worth it and you can still make a living at this. I'm glad I got what I got, when I got it.

So what do you see on the horizon?

I think more indie projects with private financing. I've seen less and less major label involvement in the actual production of records, which in a way could be a good thing. I say that only because people aren't going to be consciously making music fit a mold. There will be a lot more music that people do because they believe in it. There is a trend because of that towards music first and marketing second.

Interview and editorial provided by Rich Tozzoli