Overview
Below is an overview outline for the criteria and subjects covered within the pages of this report.
1.1 - This page (the one you're reading) focuses on the background of events which took place regarding the project covered in this OP, along with the context of the project and report in relation to my personal development and pathway within Gaia U.
1.2 - On this page I detail and describe the collaborative relationships I engaged in during this process. The first three people/projects listed represent the initiatory experiences and catalytic dynamics which set my learning process and skills-development in motion to prepare me for the project detailed on the following page.
1.3 - The 'Project Process' page of this report details the design analysis and dynamics of the engineering, production, and recording process of my second full length album.
1.4 - This is the 'Conclusion' page of the report where I wrap up the threads, discuss world-context, share benefits to the field, reflect on the construction process of this OP, describe key Un/learnings, and discuss future goals and next steps in my process as a developing professional artist and music producer.
1.5 - Commentary of the report showing my OP design methodology, pathway tracking, time management, participation records, skill-flex assessment, journal entries, digiphon, and dissemination efforts.
1.6 - The Supporting Evidence page of this OP containing my annotated resource review, selected recordings from the projects detailed within the report, and evidence of personal research and educational resources surrounding my learning process of music production.
Context
I am in the capstone phase in the attainment of a bachelors of science in integrative eco-social design with the online university, "Gaia University". My personal pathway is primarily focused on and directed towards my musical and interpersonal evolution as an inspirational artist and self-empowered human in service to the whole of life. This OP is the third installment in a series of projects regarding my work with music, specifically in terms of recording and production. Personally, this project has been a big step since the OP2 of my first program cycle which followed the process of making my first album engineered and produced primarily by my collaborative, Paul Olsen. This current project on the other hand (other than mixing collaboration, some added harmonies, organ on 3 songs, and a guitar slide accompaniment) was completely self-engineered and self-produced, meaning that I recorded and performed all the primary instrumentation and vocals myself. This was especially significant for me because, due to my experience of working with Paul in the past and the hi-fidelity outcome of my first album, I felt that anything I attempted on my own would pale in comparison to my previous work. This insecurity was mostly due to the lack of Paul's presence and support in technical ability and aptitude with the recording/production process. Instead I had to do it myself, become independent, and go my own way. To my surprise, through helpful guides and mentors, engagement in the recording process of others' music, active experimentation, and self-education (learning by doing & researching the internet), I found that when it came time to step into the process of recording my own music, I already liked what I was hearing in an incredibly raw state, simply recording layers of self-performed guitar, drums, bass, and vocals, then listening back. I received positive feedback from peers, refined my process, and eventually began to make recordings that really felt like 'me' and translated the energy and essence of what I am truly attempting to express as an artist. This process has been incredibly rewarding and I am excited to share my experiences and design approach with you.
Introduction & Summary
Introduction
In August 2014, while on the island of Kauai completing my first Gaia University OP5 Learning Review, I was preparing to return to my hometown of Avalon on Catalina Island, 26 miles off the coast from Long Beach, CA. It was there that I would embark upon an ever deepening learning journey of growth, purpose, self-reflection, technical training, community integration, relationship to place, artistic projects, and professional development culminating with the manifestation of my second full-length album. Given that the timeline of these experiences span across around 20 months (give or take), the core of this report focuses primarily on my experience and design process with the technical training, artistic projects, and professional development associated within it.
Below is a summary of my work and experience of the projects involved within this OP. It is divided into parts A and B to create a distinction between my experience of learning through helping others record and produce their music to learning through recording and producing my own second full-length album. The bulk of project design analysis will follow part B of this process and can be found on the 'Project Process' page of this OP.
Summary
Part A
My move back to Catalina began when deciding to follow guidance from mother to join my friends who were reserving our family home on the island for a few months to record their next set of songs for a debut album release. In my late summer confusion around what to focus my life's energies on next, It was an option I had for some reason not yet considered as a possibility. When suggested by my mother to go there and learn how to record from them (Augustin & Evan, 'Abuela') a light of clarity was immediately illuminated within me. My previous girlfriend, Hannah, was visiting family in Europe at the time and I proceeded to ask her if she would like to record her music for her next three month visa in the states. She agreed and so I began to plan for the sessions which would begin in October. By chance, I received a call from my friend, Ashlyn, whom had recently decided to take leave from her college career and instead pursue her musical and health related passions. I was a fan of her music, her schedule was open, and so she became my first 'learning client' in my educational process of music engineering and production. Borrowing Augustin's microphones, speakers, and recording interface (with my Mac & LogicX recording software), We worked on her music for almost three weeks in September, terminating the process after there were four songs we were happy with that she would be able to use as a promotional launch pad and inspirational tool for future work. A week later Hannah arrived and shortly after getting situated on the island, we began recording, again using my computer and instruments but borrowing microphones, speakers, and interface from Augustin. After around two months of consistent work and technical guidance from Augustin, he departed to continue his recording process back on the mainland, while Hannah and I focused, for the rest of December, with what little energy and patience we had left for the process and production of her music. A more in-depth analysis on my experience, design process, and un/learnings with Augustin, Ashlyn, and Hannah can be found in the "Collaboratives" page of this output.
Part B
By the end of December 2014 I had assembled a proposal letter for my now late Stepfather, Paxson, asking for his financial blessing to help assemble the necessary tools to take my production efforts to the next level. The plan was to gather essential equipment to assemble my own recording studio in order to record my upcoming album as well as future records. This was seen as a financial investment for my future as well as an artistic one of the present. He agreed and by mid January 2015, I had most of my studio assembled and ready for recording. Hannah left to Peru when her visa expired and in the quiet solitude of my family home, I commenced pre-production of the first demo tracks of my new album. For about two months I spent my days writing songs and recording them, overwhelmed with the gratitude of creativity and the blessings of abundance manifested in a nourishing space and solid equipment to harness and develop my skills. By July of the same year, much transformation had ensued within my life. My stepfather passed from his four year battle with Leukemia, Hannah and I ended our relationship, my new roommate Blake and I moved into a new home on Catalina, and I got jobs as a buser at a local restaurant and paid musician at a downtown market where I would perform every Friday evening. I moved the studio equipment into the lower level apartment of our new home and began phase two of recording my album. I called this new location of my recording studio, 'The Womb', remaining to this day as my home-base for sonic alchemy and album production projects. I spent the next 8 months working about once a month for 1-2 week stints in between various other commitments and life happenings to complete the task of recording my second full-length album. During the last phase of this process I reunited with old friend and previous sonic comrade, Paul Olsen, who helped to 'mix' the record between January and March of 2016. Paul was the co-producer of my first album, SunDog, a more in depth look into the process of which can be found here. Details on the process of mixing with Paul are also found within the 'Collaboratives' and 'Project Process' pages of this OP. Finally, I am led to the present task of finalizing the album, preparing to master the tracks, make proper connections so that I can release it through a label deepening and expanding my work as a professional musician, and lastly completing this output packet to share my story and design processes with you.