The last time we checked, Electric Feel Entertainment music and production studios could boast about 215 billion streams, over 625 platinum records, 173 million monthly listeners on Spotify, 56 million Instagram followers, and more. The company reps artists such as Post Malone, Khea, Iann Dior, 24Goldn, IV Jay, Joseph Black, TyFontaine, Kate Golden, and Jake Banfield as well as producers, songwriters, and engineers. Their studios located in Los Angeles, Berlin, Miami, and New York are constantly humming – booked nonstop. And Danielle Engen is the Studio Manager and one of the content creators. She talks with host Cirina Catania about what it takes to run a successful studio and how she manages so many multi-platinum engineers and producers. COVID didn’t stop them, and along with the founders of Electric Feel and key creative staff, Danielle is helping move mountains to empower artists and create hot music for listeners around the world.
For more information about our amazing sponsor, Other World Computing, go to MacSales.com or OWCDigital.com, where you’ll find hardware and software solutions and tutorial videos that will get you up and running in no time.
For more about our host, filmmaker, tech maven and co-founder of the Sundance Film Festival, Cirina Catania, visit cirinacatania.com.
If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. Cirina is always up for new ideas!
Timestamps
- 00:00 – Cirina introduces Danielle Engen, the Studio Manager and one of the content creators of Electric Feel Entertainment.
- 02:16 – Danielle talks about what Electric Feel does and her position in the company.
- 05:57 – Danielle explains why Electric Feel grew in the midst of the pandemic.
- 12:05 – Danielle shares more about herself and how she got started in the industry.
- 17:07 – Cirina asks Danielle about the success of 24kGoldn and Iann Dior’s song “Mood,” which blew up in 2020.
- 22:07 – Danielle shares how she manages everything in the company – from scheduling to budgeting and more.
- 28:45 – Danielle talks about the cameras Electric Feel uses for creating content with its artists.
- 32:43 – Danielle gives a bit of advice for artists on how to get noticed in the industry.
- 35:24 – Danielle talks about the OWC equipment Electric Feel uses in their studio.
Transcript
Hi, Danielle. How are you?
I’m doing great. How are you?
I’m good. Where are you today and what’s going on?
I’m in Los Angeles. I’m here in Studio A at Electric Feel, Sunset Studio, our flagship studio. Things are starting to slowly return to normal in terms of doing sessions over here and everybody’s ready to start being in their rooms. Again, I’m here today.
For people who don’t know, tell them what Electric Feel is and what you do there.
Electric Feel is the heart of everything, a management company. That’s how it started. We manage artists, producers, songwriters, and now engineers as well. We also have a publishing arm, we have a record label, and then we also have our studios, which I manage. I manage any of our physical recording studio facilities, as well as any mobile recording that we do, any mobile recording setups that we have. I manage all of our engineers on our roster and any work that we’re doing in the live recording, live mixing space.
Recently we’ve evolved also into a lot of brand partnership work on the audio side of things for our entire roster. When our producers or artists want to develop a relationship with an instrument brand, speaker brand, software brand, I help with those relationships. Sometimes that involves creating content for those brands and for those producers, which is a lot of fun.
Content, meaning clubs for social media and videos?
Right. It could be a video for YouTube, it could be a photo for social media, it could be a behind the scenes interview. Recently, I directed a video for Genelec featuring Louis Bell, one of our great producers, songwriters on our roster. That was a little snapshot into his creative process, his studio environments, where he likes to work, which often is in this room that I’m in today. I was able to create the concepts for that whole piece. It was like a mini-doc. I worked with Genelec, worked with Lou, and worked with a great cinematographer who I worked closely with on a few other projects. We just made this really cool five, six minute long clip about Lou’s process, and it was a little sneak peek into how he works and who he is and what’s important to him in the studio.
Where can we see that? What’s it called and where can we see it?
You can see it on YouTube. It’s on Genelec’s channel, YouTube, Genelec, Louis Bell, and it will probably be the first thing to come up. You can see it there.
Oh, my god. You must have so much fun. I want to go back a little bit though. I want to tell people that you have studios, Electric Feel, has studios all over the place. Where are they?
We did have two locations in LA. We have one location at the moment where I’m at today in West Hollywood. We are expanding. I don’t have anything to announce just yet, but Miami is definitely becoming a hot spot for our clients and for our company. A lot of people have been migrating that way especially just over the last year during the pandemic and everything.
Why Miami for them?
That’s a good question.
Most people think well, of course, mostly country and pop is Nashville. Miami has a lot of hip-hop.
Yes, but the Latin market is just huge right now. It has been just expanding over the last few years. A lot of that work is happening in Miami. That’s one reason and we do work in that lane as well. We have an artist named Khea on our roster who’s absolutely amazing, Latin artist, and key producers that work in that realm as well. We’re staying busy. A lot of sessions are happening there right now.
That’s awesome. Do you still have New York and Berlin?
We do have Berlin. We are not in New York at the moment. But stay tuned.
The world is a crazy place right now, isn’t it? I’m really proud of you guys, because when a lot of studios are going under, you guys are just growing and growing and growing. Why do you think that is?
We’ve been very fortunate. A lot of studios did have a hard time with the lockdowns during the pandemic, obviously, because people couldn’t be in the room together in the way that we’re all used to, collaborating. When the lockdown started in March, that first initial lockdown for everyone, we designed and built this mobile studio that went on tour with Post Malone on the second leg of the Runaway Tour, because he wanted to have a studio to work out of wherever he was. Our chief engineer Nick Mac and myself put our heads together to try and create a really premium studio environment that could go into road cases, be loaded up onto trucks and then set up that backstage at different venues wherever they were.
With most of the Post Malone records being made in this room, we wanted to take some of the elements of this room on the road wherever he was. We’re big fans of Genelec here. We have the Genelec speakers, Genelec sub, vocal recording baffles that could be encased into these road cases that can be rolled onto the trucks and those got stacked up, and there was a mic, our Sony C-800G, recording rig full of all the gear that any of our producers or engineers might want if they were hopping into a session. It was this really cool project.
Obviously, the lockdowns happened, the tour still had another five or six dates. They were in Denver, and we got the news that the rest of the dates are not going to happen. We had to get all these cases back to Los Angeles and figure out how to get them there at the last minute. As it turned out, Post was ready to start working on the new album. He asked us to bring those cases to his house. We brought everything there and set it up, and he started working on the new record from his house. They were out there for maybe five or six months since they were working on that which was great and allowed us to keep going and to work outside of the walls of our normal studio, which is really cool.
At the end of the day, one can never truly recreate a unique space because part of what makes a space unique is the space itself. Click To TweetThen we also had a lot of our artist clients doing these performances that were being streamed because no one was doing shows in person, shows with audiences. That was another way that we were able to keep working. We started doing a lot of live recording and live mixing for these streamed performances. Whether live stream or pre-recorded, we started working on that and bringing playback rigs, bringing recording rigs, working on the mixes for that. It was things like this that really allowed us to keep going while everything was shut down in terms of physical spaces.
Like I said, we were really fortunate in that way, because we have such an incredible roster of clients that Electric Feel, that we’re thinking of all these different ways to continue working. Even for producer and songwriter clients. If they couldn’t be here, EF, they were finding ways to get set up at their home studios, finding new workflows, learning new software, learning new instruments, figuring out new ways to work. On the studio side of things, we were able to help with. That’s how a lot of the brand partnership work has started for us because it was a great opportunity to team our producers or writers up with the brands that they love the most to get them set up in these new spaces. It’s also been a lot of fun for me setting up new spaces and helping with those things.
Are you a gearhead?
I wouldn’t call myself a gearhead. I’m not an engineer. I do really have a passion for putting the right pieces of gear in the room for clients, because it’s a creative toolbox that we’re providing to them to help them create in different ways, maybe better, maybe more differently. That’s fun for me. I know for our clients, they love that stuff so much. I like giving people the tools that they need to help them do their greatest work. In that sense, yes.
It’s funny. When you’re working with them, everybody has their preferences, microphones, headphones, mixers. Every piece of equipment is something they’re used to. It’s got to be interesting if you’re recreating that all over the country in these studios. I envisioned carpenters coming in and baffling up on the walls. I was building a studio here until Covid hit and of course, then I can’t have carpenters crawling around everywhere.
The thing is, at the end of the day, you can never truly recreate a unique space, because part of what makes a space unique is the space itself, the room that you’re in. There are some studios out there that have been around for decades, that you walk in, the energy hits you the second you walk in. There’s just so many things that have been created there, the talented people that have walked through those doors, that have sat in those rooms. You can’t replicate that, but you can draw inspiration from all sorts of different rooms in different places, and then you can create something new that becomes special in its own way.
That’s what I try to do. I think I can at least add a little bit of flavor from EF or add a little bit of flavor from something else into a new space that we’re creating, and then help make it unique in its own right for that client or for that artist or for that engineer. Even if that’s backstage at a venue on tour, those rooms were really interesting, because sometimes it would be a locker room or something backstage, some of the colored lights and we’d have the speaker set up. We would just add a little bit of ambience to those rooms, even if they were not the most ideal rooms to be studios and to make it special in its own way. I really enjoy that. It’s a little challenge with every new space that we set up.
You are amazing. Let’s talk about Danielle for a minute, and then we’ll come back to all this. This is wonderful. I can talk to you all day about this. I want to know about Danielle. When did you get interested in sound and music and doing what you do? How did you get started? People are going to want to know, how can I do what Danielle does?
I never thought I was going to end up in studios. I wasn’t a kid imagining working in a recording studio. I would never want to be anywhere else after having done this my whole career now. I was very musical growing up, a singer, dancer, and a lot of music in my family when I was a young kid. I don’t tell the story often, but Joe Walsh from the Eagles was a close friend of my family. I can remember doing parades up and down the cul de sac that we lived on when he would come over and have musical instruments.
Listening to him, seeing him play guitar really inspired me when I was younger. As I started to get into my teenage years and thinking about what I actually want to do, I knew I wanted to do music. I didn’t know that I wanted to do the artist thing or the musician thing. I love it, but I think the place that I really excel at is pushing other people into the lanes that make the most sense for them. I wanted to be around a lot of different types of music and a lot of different types of artistry.
I went to school. I started interning at an artist management company, because I was sure, sure, sure I wanted to do artist management. It was a company called The Sanctuary Group. They had me intern in their producer management department, which I knew nothing about at the time. I was probably at the time, okay. It ended up being amazing.
I worked with two incredible mentors, Jim Phalen and Jeremiah Grabher in the world of producer management, just two people that have absolutely excelled at what they do in helping their clients. I learned a lot from them. When they eventually started their own company GPS, which is still an absolute force, I went to work for them and then eventually, went to work for the Village in West LA, Legendary Studio.
I’ve been through Village Studios at one point or another.
Exactly. There’s a lot of special people there. I just would love to acknowledge Al Schmitt today. The news of his passing is just absolutely devastating. There’s just no one like him. He’s one of the amazing people that I got to meet working at the Village. Amazing place, amazing rooms, I learned much from working in a place like that.
Eventually, went on to Australia, managed Studios 301 in Sydney, in Byron Bay for a few years. Came back to LA, I worked with Harvey Mason Jr. for a while again, just someone I just have much respect for, absolutely adore. I learned so much from him. Now I’m here at Electric Feel’s. From interning with producer management at the very start of my career, I’ve never left it. I just love working with producers and engineers and working in studios. I’ve been fortunate to work with some of the greats and at some of the greatest facilities. I can’t imagine not doing it.
How many rooms are you managing at any one point in time?
At Studios 301, for example, in Australia, that was the largest facility for me. We had a mastering division with four mastering rooms. We had eight production suites and an orchestral room, multiple other studios in another location in Byron Bay. That was the most rooms I would say. Here at Electric Feel, we have three rooms at our Sunset facility, we have our mobile studio, we’re growing. There’s definitely some new studios on the way soon, hopefully. We actually did have a second location when I first started. It’s evolving, and there probably will be more rooms in the near future, especially now that everybody’s ready to start working again.
We’re all behind the starting gate. We’re stallions and we’re stuck at the race, ready to go.
It’s surreal. It’s just simply surreal. I was just talking to our chief engineer Nick Mac the other day about this time last year, Post Malone did this Nirvana tribute where they raised money for the World Health Organization. Nick played guitar and one of our clients, Brian Lee played bass, and Travis Barker came out and played drums. That was at the time we had our mobile studio set up over there at the house. Did that happen? That actually happened.
It’s really insane to be a part of culture and music on this level sometimes. Another really incredible moment for our company and for our roster and our staff was a success of 24kGoldn and Iann Dior’s Mood last year. It’s an amazing song and it blew up. That song involves a few of our producers and writers on our roster, Omer Fedi.
Talk to me about that a little bit. Give me the scoop on all of that. You’re talking about the producers that were on it.
Yeah. Omar Fedi, a good friend, just absolute legend, he’s one of our guys. He’s one of the writers on that one. Blake Slatkin, also, just one of the sweetest guys, talented. Two of them are just incredible. 24kGoldn, obviously, we manage him on the artist side of things and Iann Dior as well. Just wonderful people, just really genuine, talented, lovely clients to work with. They deserve all the success, they really do. I know this is only the very beginning for them.
For our company, for EF, it’s just really amazing for that to just be this all in the family song that had much success, and it’s continuing to have success and helping launch Goldn and Iann, and Omer and Blake and everyone just further into the success of their own careers. They performed that song on Kimmel, Ellen, and The AMA’s Rocking New Year’s Eve. There were all these really incredible performances that they did. It was just surreal just to see everything explode the way that it did.
At what point in their career did EF pick them up for management?
24kGoldn, that was maybe around the time of—and I’m not the expert on this.
Right. I’m just curious. Behind that question is does Goldn get that as a manager you have to have when you see somebody, who on your staff over there are the managers? Who are the people that most of your talent would enact with on a daily basis in terms of management?
We have a few different managers that oversee certain clients on the roster. Ultimately, our CEO, Austin Rosen is really the vision behind our company and identifying a true talent, a true artist when he sees one and trying to bring those types of artists into the Electric Feel family as early as we can. Goldn was certainly one of those. I met Goldn around the time of Posty Fest in Dallas, which was November, the year before. I think it was around that time. City of Angels had maybe just come out around that time and then that song gained a lot of traction on radio and also just really helped to build his name.
From there on, he started doing some sessions here at the studio and teaming up with some of our writers and producers and just snowballed into amazing work. Ultimately, Austin Rosen is really just an incredible manager to work for. He just has a really unique vision in the way that he’s built Electric Feel and the types of artists, producers, writers that he has brought to the Electric Feel family. Austin is Post Malone’s manager, him and Dre London together.
He’s the mom and the dad. I always say that agents always think about the bottom line, not that managers don’t, because managers sometimes manage the agents as well, whether the agents want to know it or not. The managers in my experience, and most of that’s been in the film world, it’s a little bit different than music. In the film world, it’s taking care of everything, making sure they’re doing the right things in their lives and being there when they need somebody to talk to about where they’re going in their career. Sometimes it could be a knock on the door at midnight, just broken up with my girlfriend, I don’t know where to go to talk to somebody.
You never know. It can be a wild ride. You never know what could come up. I was just going to say just to make sure to give credits, we do have some amazing managers that handle specific clients or do day-to-day management for specific clients. Andile is one of my favorites here, she manages Iann Dior. We have David Waltzer here who manages Goldn with Austin. We have Anthony, who looks after a lot of our producer clients, including Louis Bell. We have some amazing managers on our team here. I want to make sure to give everybody credit. We have some amazing A&Rs on our publishing side and on our label side.
Let’s go back to Danielle. You have a head for organization, you have a head for looking at what needs to be done and getting it done. What software are you using to manage all of that, all of the scheduling and everything? Can you talk to us on a practical level about how to keep track of all that?
The software that I use?
Yeah.
Cirina, I have to give it to you because I never get this question. It is such an important daily part of what I do. It’s something I never talk about to anyone, because mostly people are interested in the software that our producers or engineers are using, not what I’m using.
We talk about that too with other interviews. There’s an aspect to producing that a lot of people don’t understand, that what you have to do is literally build the village. You have to make sure that everybody’s in the right place, at the right time, that they have everything that they need. I’ve been in a lot of recording studios, there’s always a computer with software on it. Talk to us about what that is.
I would be a mess without the software programs that I use to keep everything organized, I really would. I would not be able to do it any other way. Yes, I’m happy to share. For our studio management, I use a program called Studio Suite, which many studios use. We’ve used it at the last few studios that I’ve worked for. It’s become over the years an industry standard for recording studio management and also for managing productions or post-production type work.
It’s great in that it is designed for what we do. It’s specific to room scheduling and people scheduling and keeping track of finances in the way that we need to. It’s good for that stuff. It’s tailored to what we do. That’s been great for us.
As technology gets better, we have faster and easier ways of doing things. The value of hardware, physical spaces, and traditional ways of doing things are not the same. Click To TweetThen obviously some of the more current tools that everybody uses, but are the cornerstone of the daily workflow would be our Google Calendars, our shared calendars, which our studio management software will sync with. What else do we use? A lot of file sharing platforms, Box and Dropbox and things like that. Those are all really important parts of what we do.
Ultimately, I rely on my Google Calendar and on Studio Suite. I know what’s happening at any location or with any engineer or with any staff member at any given time. That changes throughout the day as well. I’m constantly on there updating things and making sure that everybody else knows what’s changing by the moment, because it really does change by the moment around here. We will start the day with maintenance today, no sessions today and by 1:00, there’s five things on the agenda.
How do you manage budgeting? You’re with the company, does the management, the bids and work with the clients to make sure you stay on budget and work with you on all of that. How do you work that out?
That thing, it’s obviously managed on a project by project basis. For anything studio related, I do all of that.
Half of everything else?
Yeah.
You’re my hero. Okay.
It just makes sense for me to do that, because I’m involved in all of the operations for everything. That’s just something that I’ve done. Maybe as we continue to grow, there will be a point where I don’t do everything, but I enjoy it. I enjoy all facets of my role here, I really do. Whether that is the budgeting, and the finance, and accounting things for the studio, or whether that’s content creation, I enjoy all of it. We do have, obviously, a finance department that oversees all of our company and all. I work very closely with them on things, but I do oversee it for our studio business.
If it goes over budget, they probably point to you first.
Honestly, I haven’t run into that. I’m always trying to find ways to increase our value as a company and not just with the studios themselves, but the engineers and the people who run the studios. We were talking about before, finding ways to operate outside of our four walls and to create new revenue streams and new ways of doing things. From the moment that I started here, I was thinking about things in that way and trying to create new ways to help with the health of our studio business. Everything’s been good.
I’m proud of you. A lot of creatives are talking about the clients wanting it better, faster, and cheaper. We always say you can have two of those, but not all three. How do you feel about that? What’s the pressure especially, during the pandemic on you in terms of your budgeting?
That’s a tough one, honestly. That’s been going on for a long time since I first started working in studios. I’m sure well before that, because as we all know, as technology gets better, and we have faster, easier ways of doing things, the value of hardware and physical spaces and traditional ways of doing things, it’s not the same anymore. If you can accomplish something on your laptop that used to take a console or all this gear to do, why wouldn’t you? It’s easier.
Question whether or not it’s all beneficial. All of the hardware and software and the ability to do everything ourselves have somehow taken away some of the support system for you to have. I’m older than you are, but we do everything now. That’s fun and if you’re a perfectionist, it’s awesome. How much sleep are you getting? How many hours are you working?
It depends.
I know you love the job. This is not a complaint, but I’m just curious.
It’s important for us to all take time for ourselves. I do really, really value taking whatever time you need to make sure that you’re in a mentally fit place to do the best work. That being said, yes, studio hours are not your traditional office hours. My day can start early, and I may be dealing with some last minute things in the early hours of the morning. It happens but I manage and it all balances out in the end.
I make it up. If I have a really busy few days, I’ll make it up. I find ways to stay sane through exercise or taking a little time for myself. To answer your question, the hours can be long sometimes and they’re not traditional. There’s a lot of being on call, especially with the studio that is operating around the clock. That’s okay. I’m used to it.
We’ll get together over a glass of wine and we’ll tell some more stories. During my studio days, I remember sleeping on the couch at Capitol Records on more than one occasion or trying to get an edit out, taking a nap and going back and working on things. On the content creation side, what cameras were you using to shoot this stuff?
We used RED cameras for the Louis Bell Genelec video, but it depends. It depends on what budget we’re working with. Sometimes it’s as simple as coming in here to do a quick video for social media that gets shot on an iPhone, but it just depends. I work with an amazing videographer who has different camera options depending on what it is we’re shooting, what type of room we’re shooting in, what our budgets are and everything.
For something, the Louis Bell video, we knew that that video is something that’ll probably live for a long time. Lou is such a prolific producer, songwriter, and I know that he inspires many people. That was the type of video that I think people will, even in 5, maybe 10 years time, look back on just to see what he had to say during that point in his career or what he used or what his thought process was behind certain creative decisions. We wanted to really make it look premium to really stand the test of time.
What did you edit it on?
Adam probably would have used Final Cut to edit it. I’m not personally into editing.
We’re going to have to put that link up on the show notes. You have to give me the link.
Yes, absolutely. I’ll share it with you.
What’s next for you?
I think the next thing is some new facilities, which I wish I could share more on these projects.
You’re going to have to give me a call and we’ll do an addendum to this.
Yeah, definitely.
We’re doing this story and put it up on OWC Radio.
Helping get everything set up in Miami is a big priority item for us. There’s a few other studio projects that I’m working on on the design side of things, which is really exciting and that I enjoy very much. Apart from that, just gearing up for everybody to start coming into the rooms again, honestly. We’ve all been working from home since March of last year. I don’t want to speak too soon, but it seems like things are starting to improve with everyone getting vaccinated and everything. I think what’s next for us is getting back into the swing of things.
I heard that Berlin is going into another major lockdown.
Oh, no.
Yeah, it’s pretty strict over there now. We’ll see how that affects everything. I’m wondering about the live performances, what’s the biggest challenge for you? How do you actually stream that out? What are you using to stream that out?
That varies depending on who the performance is for. Few of our artists have done some shows on Twitch. There have been a few YouTube Live performances. 24kGoldn recently performed his brand new album on TikTok, which I know is huge right now. It just depends on what the performance is for and which brands are involved.
A new world out there, isn’t it?
It is, yeah. It is, but it’s exciting. We’re finding ways to make content available for people in all these new innovative ways and allowing people to access live performances from a number of different platforms and a number of different ways. It’s really exciting to be a part of it and to see all this growth that’s happening. I know, everyone’s very excited for actual live shows to return. That’s definitely something that fans and artists alike. When it’s safe to do so, I think everybody’s feeling very, very ready.
I know that a lot of people are going to say, oh, I want to be managed by, I want to be revved by, I want to be one of your—what do you tell people to do if they’re approaching you and they want their demo to be heard? Not that I’m going to encourage a million people to submit, but what do you look for in a new client? If somebody is really truly very talented, how do they get noticed? Maybe not even necessarily with Electric Feel but just in the marketplace. What can you tell an artist who’s really, really good about how to get themselves noticed?
Don’t give up, I think is probably the biggest piece of advice I can give. Because if this is your true path, and you have incredible music to offer the world, it’s a lot of noise. There’s a lot of content. There’s a lot of songs out there right now. Keep going, keep pushing, keep finding new ways to be heard. Building your presence seems obvious, but I think it’s easy to get discouraged when there’s so much out there.
It can feel really challenging to reach milestones or to make progress or to gain new fans in a time where there’s not a whole lot of face-to-face opportunity that exists. I believe that a good song will always find its way to the surface, I really do. There’s a lot of music out there. There really is, but I think we can all relate to hearing a song. If it’s meant to be a hit, you feel it. There’s something special about it. I believe in great songs. If you have songs to share with the world, don’t give up, get them out there. Get them heard.
Danielle, you are a studio manager, producer, par excellence over there.
Thank you so much. That really means a lot to me.
I know you’re really enjoying your job. It’s been fun getting to know you a little bit in preparation for you coming on. I know that between both of our schedules, we were juggling a little bit because we’re both traveling and you’ve been getting more into content creation, which is amazing. I want to see more of your stuff and I want to thank Electric Feel as well for the wonderful approach they have with their clients. You have people that have been with you for a long, long time and new people coming in. That says a lot about how you do what you do that I think you can be very proud of. Very, very proud.
Thank you. I’m very proud. We’re just lucky to work with such great people. I’m thankful every day, I really am. Thank you.
Danielle, this is OWC Radio. I just want to ask you, do you use any OWC equipment over there?
We absolutely do. We love OWC, a great brand. We use OWC drives throughout our studios. We use them for our live recording setups. They are one of the most trustworthy drives that you can get your hands on today. Our engineers love them very much. We’ve had a lot of experience with different types of drives. We do a lot of work and we go through a lot of them. We’ve really landed on the OWC brand just because of the speed, the efficiency, the reliability of them, it’s just unmatched, including for all of the backup and archiving needs that we have here at the studios that all live.
A good song will always find its way to the surface. Click To TweetOn one of their big raids?
Yeah, exactly. Is it the Thunder Bay 8?
The Flex 8?
I believe so.
I have a Flex 8 right here that’s 168 terabytes. It’s almost completely full. They’re amazing. They’re very fast. The smaller equipment I travel with is the Thunderbolt 3 Docks and the little travel docks.
Yep, the docks are great.
Laptops don’t have enough ports.
I know. They keep reducing them. We use the docks. We use the bigger ones in the rooms, and we have a few of the smaller ones as well. They’re fantastic. We’re big fans over here.
Very cool. I know Larry O’Connor and everybody over at OWC is glad to hear that. That’s good news. Thank you. You’re part of the OWC Radio family now too. We’re going to be watching for you. When this new announcement is ready to come out, let me know and we’ll help share it for you.
Appreciate that. Thank you so much.
Thanks for coming. This is Cirina Catania. I’m going to sign off and remember what I tell you, get up off your chairs and go do something wonderful today. I’ve been speaking with Danielle Engen of Electric Feels. She’s the studio manager, and one of the content creators over there. It’s been a great time, and we’ll see you again very soon. Have a great day.
Important Links
- Danielle Engen – LinkedIn
- Danielle Engen – Instagram
- Electric Feel
- Genelec
- Louis Bell
- Genelec, Louis Bell YouTube video
- Khea
- Post Malone
- Runaway Tour
- Nick Mac
- Sony C-800G
- The Sanctuary Group
- Legendary Studio
- The Village
- Al Schmitt
- Studios 301
- 24kGoldn
- Iann Dior
- Mood Music Video
- Omer Fedi
- Blake Slatkin
- 24KGolden on Jimmy Kimmel
- 24KGolden on Ellen
- Austin Rosen
- Dre London
- Studio Suite
- Google Calendar
- Dropbox
- Box
- RED cameras
- Final Cut Pro
- Twitch
- TikTok
- OWC ThunderBay Flex 8
- OWC Thunderbolt 3 Dock
- Larry O’Connor
- OWC
Checklist
- Pick the right pieces of equipment for your music studio. It’s your creative toolbox that will help you in completing your greatest work.
- Use Studio Suite to manage your studio. It is the industry standard for recording studio management and for managing production or post-production work. It will help you with room scheduling, people scheduling, and keeping track of finances.
- Make sure you and your team are updated with the changes happening in your company and industry. It’s an advantage to know the possible circumstances that might hit the company.
- Always enjoy your role in the company. As the company grows, your role will also get bigger and you have to enjoy every facet of it.
- Think of creative ways to help your company grow. Be a proactive team member in the company.
- Make sure your company environment is mentally fit to do the best work. Having a conducive and healthy working environment will also help in the productivity of your team members.
- Find ways to make your content available to your audience especially in the current situation that we are in right now. As technology gets better, there are a number of different platforms that you can use to engage with your audience.
- Don’t get discouraged. If music is your true path and you have incredible music to offer the world, don’t give up and just get it out there. Always remember that a good song will always find its way to the surface.
- Visit Electric Feel Entertainment’s website to learn more about their services.
Apple Podcasts
Spotify
Google Podcasts
iHeartRadio
Stitcher
TuneIn
Overcast
CastBox
Blubrry
RSS