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Interviews Dec 2006
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An interview with Carlyn Hutchins |
Indieguitarists.com Interviews | An interview with Linda Nunez |
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1. Describe the early years of your musical roots and how your talent was nurtured. In all honesty, music for me has been on again/off again for as long as I have been playing. I started out playing an old pedal organ of all things, which was when I was about 8 or 9, and tinkered on the piano as well. Then I asked for a guitar when I was 10 and my parents obliged, I think mainly to keep me out of my sister's room because I'd sneak in and play her guitar! They gave me a book of chords and a handful of lessons, but I mainly taught myself by plunking out melodies to the radio one note at a time, and I remain mainly self-taught. I played all throughout elementary, middle, and high school but infrequently during my college years so I could focus on my degree. I started back up after college and played in bands for a few years, but took 8 years off before I started back up again 3 years ago. 2. Were there any events, people or catalysts that were musically influential? There isn't really one person or musician that was musically influential on me. However, the first time I heard the late Michael Hedges' "Aerial Boundaries", I fell in love with the acoustic guitar because I had no idea the instrument could be so beautiful and powerful! As for influential events, the reason I started writing songs and playing again was to heal emotionally and physically. An ex-girlfriend of mine committed suicide a little over three years ago. Two days after I found out, I broke a bone in my hand playing goalkeeper in a soccer game. A friend of my ex gave me one her guitars, and convinced me to start playing again. Actually, we ended up playing as a duo for a while. I used guitar playing at the time as additional physical therapy to heal my hand, but I didn’t realize it was also helping me heal emotionally, because it really gave me an outlet for my grief. It is so bittersweet to think that it took something so horrible to bring me back to my music, which has been so wonderful for me since then. I still shake my head about the whole thing. 3. Describe the feel of your new CD entitled, "Lust Love Lost" and how you were sparked to write the songs on it. (Chuckling) About 6 of the songs on the CD are influenced in some way by someone I was romantically involved with, both during the relationship and after its unnecessarily ugly end. The listener can clearly tell that there is heartache, bitterness, and anger, but a nice change is that the CD is also spiced up with a couple of lusty songs as well as one about falling in love, and there is an instrumental as well. Each of the songs is stylistically a bit different, and I'd like to think that it reaches out to people with a number of different musical tastes. 4. How involved were you in the recording and production of your latest CD? In every facet of it! I'm such a control freak that I would not have had it any other way! 5. What recording equipment did you use? No clue actually, I just let Steve Friedman at Melville Park Studio set everything up. I do know that he upgraded to ProTools 7 either right before or sometime during the time we were recording, and it was sometimes a lot of fun trying to use the old shortcuts he knew from other versions of the software. Sometimes they didn't do quite the same thing in the new and we would laugh and go back to try to fix what we just did. He was good enough to not charge me for the time he spent fixing things like that! 6. How did you record your guitar parts? For my acoustic guitar tracks, we used a combination of mics and direct input, and then played with the mix to get just the right tones while keeping a very natural acoustic sound. On my instrumental "The Look", we tried about 10 different combinations of positions and microphones before we could get a decent sound. That particular song was so challenging because I play it with a pick instead of finger-picking (I’m awful at finger-picking), and we were getting some really harsh sounds. I ended up playing it with a very heavy pick and having the mics about 4 to 8 feet from the guitar before we could get a good sound. I don’t remember if we went direct with that song at all. For Joey Ammo’s acoustic guitar tracks, we’d use the same setup I used, but for the electric guitar, we just put a mic on the amplifier. I wanted a clean sound for the recording, so we did very little in the way of effects processing, even on the electric guitar parts. 7. How did you record the rhythm section? Those were fun (and very long) sessions! Don "DC" Culp had already laid down his parts on a portable recorder before coming into the studio, and would sometimes listen back to those before he would record his tracks. We sometimes had up to 10 different percussion tracks from which to choose and mix. Most we used, but some we didn’t, and what we didn’t use was because we just couldn’t get it to sound right in the mix. DC did a fantastic job prepping and recording, and I could not have been happier with the way everything came out. Deb Blackadar also laid down some djembe and shaker tracks, and I played shaker on one of the songs. Basically, we went in, we put it down, kept it if we liked it, redid it if we didn't, used what we could, and trashed what we couldn’t! 8. Did you enjoy creating the CD? Any obstacles? The main obstacle was that we were delayed for a month while I was recovering from a very nasty cold. I couldn't speak let alone sing, and had to cancel a number of sessions (even the ones where I just had to play the guitar) because I had a wracking cough and just felt awful and tired all the time. I enjoyed the mixing sessions more than my recording sessions. I felt so pressured during the recording phase, but mixing was a lot of fun because we could be creative with it. Working with Steve was very easy, and he has such a great ear for what works and what doesn't. Luckily, he and I were very much on the same page with that. His philosophy is that if it doesn’t sound right, it’s just *wrong*. It sounds like such a simple statement, but when I mention that to musicians, it’s like a light bulb goes off over their heads, and they usually nod in agreement and say things like “Yeah, right on”! 9. Who else plays on the CD? Joey Ammo (Boston, MA) played both acoustic and electric guitar - he did a lot of layering with a second acoustic guitar part that added a lot of depth to the songs, and then played all of the acoustic or electric lead solos. He also played bass guitar on 5 songs. Allison Hale (Boston, MA) sang harmony vocals on 6 songs. Lisa Annunziata (Providence, RI) played bass guitar on 3 songs, one of which she convinced me to write, which was “Three Doors Down”. Don "DC" Culp (Providence, RI) played all the percussion on 5 songs while Deb Blackadar (Boston, MA) played percussion on 2 songs. Three songs I did solo, either just with guitar or with guitar and vocals. It’s a nice mix, in my opinion. 10. What vocal microphone did you use in the studio? (Grinning) I have no idea, whatever Steve set up for me! How’s that for paying attention? 11. What is your main guitar? My baby is a Taylor 410CE. It has great sound and I think I will have it forever. I hope someday to own a Taylor T5 as well, for its great sound, and versatility that I may need more of down the road. 12. How would you describe your sound? That question is so tough for me to answer, and I still don’t have a good one! I have been told I have a very unique sound, and maybe that’s because I don’t have any particular influence. I’ve heard that I am a mix of Ani DiFranco, Melissa Ferrick, Joni Mitchell, and Dave Matthews - how’s that for a love child! 13. How does a song come into fruition for you? The lyrics first or the music first? It’s usually the music that comes first, where I’ll start playing and then generally sing out the first words that come into my head. If I like what I hear, I’ll work on it some more, musically and lyrically. If not, I’ll generally let the whole thing die and move on to something else. I hate trying to force something to work, because it usually ends up sounding trite and I won’t be happy with it anyway. Kill the bad ones early, nurture the good ones even earlier! Writing lyrics does not come naturally or easily for me, which is why I absolutely can’t try to force it. It’s a recipe for disaster for me! 14. What venue have you played that you enjoyed the most? I love the atmospheres at the 5th Street Coffeehouse in Philadelphia and Tazza Caffe, in Providence, RI. The crowds I’ve had there have been very supportive and appreciative. I generally enjoy everywhere I play, because you never know what kind of crowd you’re going to have so you have to be on your toes to keep their attention, and I love the challenge in that. 15. Is there a venue that you play regularly at? No, no regular place, but I love doing the coffeehouse open mics in the Boston area. They’re a lot of fun, and I’ve met some really great folks through them. 16. What does your live set up consist of? It’s usually just me with a guitar direct through a PA. I had a trio for my CD release party (me, Joey Ammo on guitar, and a percussionist named Steve Nilson), and I played one show with guitarist Steve Rapson. I really feed off the energy of a duo or trio so I think I need to examine that a little and think about that for the future. 17. What music organizations are you affiliated with? I am a member of Indiegrrl, GoGirls Music, Gay Guitarists, Indie Guitarists, and Outmusic, I love the networking that goes on, and I’ve learned a lot. I am also involved with a Boston based group trying to get a new acoustic music event launched for 2007. 18. Do you have your own record & publishing company? (Laughing) You mean CatzEye Records? Well, I own the website at least! We shall see what happens with that in the future, but it can’t hurt to have it as my own right now. I’m the only one “signed” right now, but I have some ideas for it in the far future. 19. What are your plans for 2007? I’ll be writing some new songs and would like to get some vocal training as well, and improve my songwriting skills and stage presence. I’ll also be working on getting my name out more in the Boston area and beyond. I am already working on setting up a mini-tour in April, and have a couple of dates confirmed. I will also be working with a group of Boston area musicians to launch a new once-per-month acoustic music event in a house concert type format called “JP Unplugged”. 20. Do you usually appear with a band or as a solo act? It’s all me, most of the time, but that may change in 2007 or 2008. For more info on Carlyn Hutchins visit: www.carlynhutchins.com
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1. Describe the early years of your musical roots and how your talent was nurtured. My father was a Cuban immigrant who came to this country with nothing. He entered college before really learning how to speak English and within 5 years he'd graduated from 2 universities with dual degrees in Engineering. When he got his first paycheck, the very first thing he bought was this stereo console... the ones from the 70's that were huge and more like a piece of furniture than a stereo system. Inside was a reel to reel recorder as well as a turntable for playing records. My Dad could not sing or play a lick of music. But he absolutely loved to listen to it, and always played it real loud. On his days off, he would sit with mefor hours, playing record after record while I sang along at the top of my lungs. I think maybe I was just a guinea pig so he could figure out how to use his recorder, but either way, the end result was us having a good time together and some very entertaining tapes of my singing abilities at 3 years old. By 2nd grade, Mom (an amateur musician in her own right) put me into piano lessons and insisted on a 30-minute a day practice regime, which of course I hated at the time, but am so grateful for now. 2. Where there any events, people or catalyst(s) that were musically influential? Even in my earliest memories, there was always music. My grandfather, (a Math prof. at Wake Forest University & later at Stetson University) played piano, sang in his church choir, and wrote children's nursery rhymes. On Christmas mornings, he would play Sonatina's on the piano while my cousins and I danced around the living room, waiting for the adults to get ready so we could open our presents. When I was 5 years old, my sister Teresa was born, and to try and get her to stop crying, Mom and I would make up little songs to sing to her. Music in my family just seemed to come from everywhere and in different capacities... singing, playing, dancing, and creating, a path I just seemed to naturally follow in my own life. 3. Describe the feel of your latest CD release Cry Mercy and how you were sparked to write the songs on it. “Cry Mercy” is a well rounded culmination of many things. At first glance it plays like a straight up Rock album. But under the surface there is so much more. The songs on CM were written over a number of years and therefore reflect different places and stages of my life and career. But unlike my earlier releases, CM is all me. I wrote, produced, engineered, sang, arranged and was basically in on all aspects (including mastering the recording) of it's creation. 4. Who else played on the CD? Because CM's incubation period lasted over 3 years, many talented musicians appear courtesy of their respective labels. Victor Wooten (Bela Fleck & the Flecktones) appears on Havana along with J.D. Blair (Shania Twain) on drums. There were also several Nashville studio musicians like, Dave Harrison (Edwin McCain), Will Kimbro, and Michael Webb. Orlando musicians include Chuck Dorris on electric guitar, Mark Valentin on bass and Tim Lau on drums. The rest was me on guitar, piano, strings, horns, and background vocals. 5. How is the CD being received in the US and abroad? We are getting airplay all over the world, with heavy emphasis in Australia! Sales have been solid worldwide thanks to CD Baby, Amazon and iTunes! 6. You have released 4 CD’s to date. Which CD has brought you the most success? In my opinion, each record is responsible for moving my career forward. They read like a staircase, each adding to the other's success through experience and development. CM has definitely enjoyed the spotlight, and continues to get people's attention. But it wouldn't be what it has become today without the making of the albums that came before it. 7. What works for you as a songwriter when you are composing? Describe the process from the initial inspiration to getting it down on CD. I never know when an idea or a melody is going to hit me. With any luck, when those moments happen, I am in a place where I can grab it and get it down on tape or paper. I am not one who enjoys sitting down with the intention of writing a song. It usually just happens, and often when I'm not looking for it. I'm best at it when I'm tired, maybe because I relax and just let it come. 8. Would you agree that music is a language? I've never really thought of music as a language, but you do bring up a good point. There are times when music speaks to us in ways no human being can, and sometimes even helps us to resolve life issues. So I guess in that way music is a form of communication making it a language of sorts. 9. How involved are you in the recording of your projects? If the album is going to have my name on it, I am involved 100%. As an artist I don't believe you can put product out there for the world to hear and call it your own unless you are involved in it's creation from front to back. I enjoy the technical side of the studio equally, though I do leave some of the tech stuff to the tech geeks. Tech geeks need love too! 10. How do you prefer to record your guitar parts? I'm a big fan of layering when it comes to guitar parts, but I'm careful not to muddy the waters, giving each part it's own place in the mix. I take a lot of time to create each sound, and then once it's on tape, listening carefully to make sure they compliment each other. For the most part, I try to stay true to what the song needs, not what the guitar player needs to play. 11. What does your live set up consist of? I carry 3 guitars, a Gibson SG electric, a Gibson Chet Atkins electric/acoustic and a Takamine acoustic. I run all 3 through a VOX Valvetronix modeling amp, creating individual patches for each guitar, for each song. This way I can achieve many different sounds and still meld to what my lead guitar player is doing. The amp The biggest of these was a show in Nashville, TN called RiverStages. 50 National acts over 3 days. 13. What music organizations are you affiliated with? BMI 14. You are a regional spokesperson/performer for the National Mental Health Association of Central Florida, helping to raise awareness of mental health issues. When did you get involved with this association and why? I became involved with NAMI (National Association of Mental Illness) during the summer of 2003 when my manager (Melissa Foxx) booked me for their yearly concert/fundraiser. Having been diagnosed with adult ADD, I understood the importance of such a foundation and my personality and performance hit it off with the organizers so well, that they have had me back every year since. 15. When did you found The Academy of Voice of which you are also, the Director. Teaching has always been something I enjoyed and was good at. My own learning disabilities helped me to understand that in order to teach someone effectively, you must first find out how each individual learns. I started out in my spare time, in my spare room, something to do for extra cash. I didn't advertise, other than a few flyers at the music stores. In the summer of 2004 I was trying desperately to finish CM, but couldn't find a producer or studio that I felt comfortable working with. So, I took that spare room and turned it into my own studio. The 3 or 4 students that I had at the time really benefited from that because they could instantly hear back what they sounded like. It was amazing to them (and me) how many things they were not aware they were doing until they heard it back. It became apparent to me that ear training was equally as important when training the voice, whether working with advanced students or beginners, and my studio has been part of my teaching style ever since. 16. What have been the highs & lows of your career so far? High: I played an Earth Day Celebration in Brevard County, FL where Artimus Pyle (Lynyrd Skynyrd) and his band were headlining. After hearing my set, Artimus introduced himself and asked if I would come up and sing a little bit during "Freebird". By the time the song rolled around, the sun had gone down, and this huge field that we were in the middle of was lit up by nothing but the moon and the stage lights, with a slight breeze blowing in off the shore. When it came my time, I sang whatever came to my head, adding a few of my own little stylings, at which point Artimus got down off the drums, came down stage and said to the audience, "I think Ronnie VanZant would have really liked that". The crowd went nuts and all I could think was, WOW! 17. What and where are some of your favorite venues to play? Any venue where the sound guy is good. 18. Which independent films have you been cast in? I was recently cast in the Indie Film "Moving Out", as story about two women who break up after a brief, yet steamy relationship, but are forced to continue living together for financial reasons. I had never done any acting professionally, so the whole experience was completely new for me. 19. What are your plans for 2007? NUNEZ will rule the world in 2007! And, we'll play in a lot of new places where we'll excite the crowds and make tons of new fans For more info on Linda Nunez visit: www.lindanunez.com
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