PUNCHING IN: SCOREBOARD RECORDINGS
For only the second time in history we are doing a ‘Punching In’ (last time was in 2013!): this one is with Scoreboard Recordings (SR), operated by the duo of Will Lepine and Will Brisebois. We talked about essential gear, challenges of operating a studio, and the lessons learned from their first year in existence (Photo: Ryan Stacey).
VITALS
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SA: What first gave you the idea to start up your own studio, and what was the first project you took on? SR: We’ve been involved with music and the surrounding scene for many years, and felt as if this was the next logical step for us in both of our professional careers. The studio was an idea we arrived at while discussing how we could contribute to our local music scene. We wanted to provide local artists with a space to express themselves freely while issuing our own unique take to the sound. Our first recording project as Scoreboard Recordings was Nojah’s ‘A World Without You” EP, completed in August 2017.
SA: How does your approach to recording vary depending on your projects? SR: We feel as if every artist and project is a unique opportunity to showcase our skills. Every artists experiences the recording process differently. For a lot of new artists, the recording process can be intimidating. We aim to make the recording experience as stimulating and accommodating as possible. Every artist is different and being conscious of that is key to making the process creatively rewarding.
SA: What are some of the unexpected challenges that come up with recording projects? SR: Working through creative differences with an artist or group can be challenging at times. We invest ourselves into their work and sometimes, as any songwriting process goes, you butt heads. The challenge is learning when to fight for an idea, and when to let up. Sometimes one of us will have an idea that they really like, but the rest of the team isn’t quite sold on. Sometimes it works out, sometimes it doesn’t. Its important to be able to accept that and move on.
SA: What kind of hardware/software do you use? SR: We have a 16 input preamp system for versatility with all types of recording situations, as well as a vast array of microphones to accommodate for different sounds and styles. We also carry a variety of instruments, amplifiers, effect pedals and outboard gear to meet any artists sonic needs. In terms of software, on top of our Pro Tools system, we have a multitude of different instrument and effect plugins from top-tier companies such as Waves, Izotope, Soundtoys, etc. A full list of our gear and software can be found on our website.
SA: Eventually, would you like projects coming out of Scoreboard to be known for a certain, specific style, or are you looking at taking on projects from a wide variety of genres? SR: There are obviously genres of music we prefer working with due to personal preference but at the end of the day, we’re happy to work with any kind of artist. As you go through the recording process with an artist, you feel like you become part of the project and you always strive to make the songs the best they can be.
SA: For projects you've worked on thus far, have you found a business, local or otherwise, who you can rely on for mastering? SR: We haven’t come across anyone yet, so for the time being we’ve been doing it ourselves. However that’s not to say we wouldn’t be open to collaborating with other studios.
SA: Your house is on fire and you only have enough time to grab one piece of recording gear. What do you save? SR: Our vintage Roland Jupiter 4 synthesizer. Its a rare, vintage synthesizer from the 1970s and it would really suck to lose it!
SA: If you could go back in time and tell past-you one thing about starting a recording studio, what would it be? SR: If we could go back in time, we would tell ourselves to be patient. Don’t stress about bookings, focus on the task at hand and make sure you’re putting out the best quality product you can. The work will speak for itself.
SA: Live off the floor, or piece-by-piece? SR: It really depends on the project but if we had to choose, piece-by-piece gives us the most flexibility over the direction of the song.