Get to know Tucker Burnes.
Learn some mixing techniques.
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Tucker Burnes knows sound, and the proof is in the resume. He picked up his chops playing bass for the jazz band and played drums in marching band at Jefferson High in Cedar Rapids. He did the rock band thing also. The major turning point was the move from performer to composer using MIDI technology discovered during his 1st year of college. After completing typical undergrad music theory studies and becoming disillusioned with composition as a focus of study, a career in professional audio engineering became his main focus.
Does the recording arts school Full Sail ring a bell? He scored a degree from that respected institution. After graduation, Tucker said to himself “New York is the place I want to be!” So he spent a week doing interviews and Sony Studios in New York offered him an entry-level position on the spot, which transitioned into a full-time audio engineering gig. That's correct, Sony studios where the big-time artists received up-front advances from the record label to record their projects back in 2000.
DMX's "…and then there was X" release? He assisted on that one. Michael Jackson has a problem in stage "B" with the speakers? Who do you think they call? Joe Pesci affectionately called him "Tucker Slick Mutherf**ker" when he dropped by for a recording session. Gloria Estefan needs her wrist band credentials cut off before she hits the stage, and who do you think is on the spiggty-spot with his multi-purpose tool to slice it off? You guess it. Tucker Burnes to the rescue.
Those were the days, and Tucker will bless us with few Sony stories…but back in 2002 he had to bust a move out of New York and set up his own recording studio in Iowa City. Who wants to work for "the man" anyways? Tucker brings to the table 10 years of solid craftsmanship. We're talking acoustical analysis, studio design, stereo and multi-track studio experience, remote recording, editing, mixing & mastering. No matter the place, circumstances, or personalities involved…Tucker is on the job home skillet. Combine the fact that he started to take piano lessons at the age of 7 and what you got is a musical juggernaut sun!
Let's sit down and chat with Tucker Burnes one-on-one.
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Tucker: My pleasure Tack. I’ve been looking forward to this.
| Tack: I know we've chit-chatted it up in the past, and I wish I could have recorded some of those conversations, those Sony studio stories are pure gold! Tucker: Yea…the internship @ Sony was interesting and different from internships at other major studios. Before 2001 major labels were throwing money at projects. “Sillmatic” by Nas was being written in the studio when I first started. It was a place to hang out and make the album at $2,000 bucks a day. By the way, that was one of my jobs…to provide support. Every day I had to run across the street and buy 5 blunts and two bottles of Hennessey before the entourage would show up in the morning. |
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Understand that Sony studios, it was a massive complex in New York. Five recording rooms, a large stage where they broadcasted game shows and things like MTV unplugged sessions, a basement for tech shop, equipment locker, writers rooms, a whole floor for offices…it was huge. My schooling at Full Sail and the internship at Sony is where I really learned the hip-hop scene and the production style along with the sound behind the music. Combining my knowledge of other forms of music and hanging out with the hip-hop guys in the equipment locker really broadened my education. I can’t emphasize the experiences off the clock. |
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Tack: So you made the move back to Iowa and opened up your own recording studio. Now you’re wearing two hats here in Iowa City.
Tucker: Right, being an engineer and owning your own studio/recording business is a dual job. You have to make the artist feel comfortable in a relaxed environment and you have to know your recording equipment. Do your job well and the magic will happen. It’s about communication and fixing any technical problems that might occur.
Tack: I'm sure you run across everything when it comes to hip-hop production and the devices some these cats carry around with them.
Tucker: When it comes to hip-hop, every producer has different devices that they recorded their primary tracks on. Let’s talk hardware first.
Tack: Good lord! I know what’s coming up next, a quick tutorial on MIDI. Can I watch paint dry instead?
Tucker: Correction, MIDI time code. It allows two devices to be in sync with each other.
Tack: Ok fine…How does this process work then…oh guru of the MIDI.
| Tucker: An artist like Coolzey prefers to do things in real time with his MPC. He wants to perform on his equipment rather than program. If a producer wants to sequence his drops or bring in layers to the piece, my computer needs to communicate with the hardware via MIDI time code. All that does is pick a start point and it stays consistent with every layer you want to add. Roland VS 880 or 1680’s all those stand alone recording devices have MIDI…it’s just a matter of the computer being the master so the process is in sync. Tack: Hardware vs. Software. What are the issues? Tucker: No issues with me between the two, it’s just the possible variations with hardware devices can be more complicated, rather than dealing with software files, because there is an extra set up and transfer process. The first step is to figure out what my options are as an engineer. Tack: I feel like breaking into the old school gospel tune “one step at a time…sweet jesus!”
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Tucker: You’re quite entertaining Tack, but understand that I’m trying to isolate sounds. Once that task is accomplished we can add in live instruments, other samples, or DJs doing their thing...whatever the artist wants.
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Tack: Give me an example of the process. Tucker: Ok…take Coolzey as a prime example. He has an MPC 1000 with only 4 outputs to transfer audio. We ran those 4 outputs direct into my computer. (for example: hi-hat, snare, kick, and sample) After the tracks are transferred we can add other overdubs and vocals. Once the dubs are complete, we can move on to the mixing. It’s typical to have the snare and kick in the center. Cymbals or hi-hats may get panned a little off to one side to represent how a real sounding drum kit would be recorded, and to open up room the vocals. If I’m working with mono samples I may put effects and reverb on it so the sample is spread across the stereo spectrum. I’m trying to create space for everything. Coolzey calls it “teeing it up.” |
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Tack: So the more control you have handed over, the better, right?
Tucker: I’m not a control freak, but if the artist really wants something more present in the mix, I can meet that need. I show them options so they feel empowered.
