Today we’d like to introduce you to Donny Baker.
Hi Donny, so excited to have you on the platform. So before we get into questions about your work-life, maybe you can bring our readers up to speed on your story and how you got to where you are today?
I have been a sound guy most of my adult life. I grew up in a tiny town (a village, actually) in South Louisiana, 40 miles south of New Orleans, that no one had ever heard of. My chances of becoming a rock star were pretty slim.
It all started when I was 13. I met Pat Travers (Canadian Rock Star) on a flight to London. My family and I were moving to England for my Dad’s job. Pat Travers and I hit it off pretty well, and we spent those 8 hours on the plane just chopping it up about the music biz and how cool it was to be a part of it. I’m sure he was pretty tired of answering my questions by the time we arrived at Heathrow.
Later, after hanging with an actual rock star, I thought a career in the music space would be awesome. But I was not a musician. Although, I did enjoy making things sound good as well as LOUD! I spent the next few years mixing bands when I could. In Small bars, Garages, High school proms, Saturday night gigs down at the VFW., etc.
After high school and college, I moved out to the big city of Los Angeles, CA., to pursue my dream of working in the music industry as a live audio engineer. I met some people and made contacts by putting myself where musicians hang out, Sunset Strip bars, clubs, and rehearsal studios. I got a part-time job at a local rehearsal space in Hollywood called S.I.R. and got a lot of gigs through those guys. While at S.I.R., I got a chance to work with Madonna on a rehearsal stage and got a gig touring with her as the band monitor engineer.
Through the years, I got to tour with some pretty amazing artists and bands along the way. Imagine hanging out with some of my heroes from when I was a kid. Even now, we are still friends and colleagues. I run into a lot of these guys at industry events. Such as the NAMM Show. Or the Grammys.
I mean, think about it. One day you’re in middle school listening to Aerosmith, and later, You’re hanging out backstage with Joe Perry and Steven Tyler. What…….? Yep, that’s the feeling you think it is.
Or, even years later, at my studio, tracking drums on the Nazareth song, Hair Of The Dog (my theme song when I was 15), with Steven Adler (Guns and Roses) playing drums and Vivian Cambell (Def Leppard) Playing guitar. Then, the producer, Manny Charlton (Founder of Nazareth), turns and says to you. ” Dude, these drum tones you got are better than the original.” Yep, That’s the feeling you think it is.
“My life is incredible. I thoroughly enjoy doing what I do for a living. For me, there is nothing else.”
I toured as an audio engineer for almost 14 years until I met my incredible wife while touring with Michael Bolton.
We got married, and I came off the road. I needed to settle down as we started our family straight away. I worked around Los Angeles for a bit but wanted to be happier with the type of work I was doing. In a nutshell, I needed to improve at working for other people. I was always a freelance type of guy. The “real job” thing was not for me.
My wife wanted to be near her family and friends while pregnant with our Son. So, we moved to Indianapolis, IN, and I worked with more awesome musicians and bands there than anywhere else. Everyone wanted to work with the LA sound guy.
After our Son was born and things began to settle down, it was time to move back to a warmer climate. (I don’t know how you guys do the bitter cold of the midwest). Props to you.
We moved back to LA, and I took a job working for a national company that installed commercial sound systems. I worked there for almost six years. I thought that now that I have a family, I’ve got to have a “Real Job.”
Long story short, I was unhappy and needed to return to being me. So, I quit the “Job” and went back to being a freelance audio engineer.
Then I thought, “Hey, working in a studio can’t be that bad,” So I found a studio that needed some help building and growing. I started working there as an engineer and quickly learned I could run the place. I set myself up as the manager of that studio. About six years in, the studio’s owner decided to do something else. My Wife and I bought him out, and now we own the studio.
Things at that point changed for the better. We were now able to grow this studio brand into something super vibey, and our clients love coming to work here because of that family vibe that we possess.
My wife and I have owned and operated the studio for the past 14 years. My wife is great with all the business stuff, Bills, Money, Banks, and Insurance. And I do the day-to-day running of the facility. I am still an engineer and get to work on some fantastic projects from time to time. But I mostly just run things.
I also get to teach. I teach and mentor students here in the studio. One-on-One, Hands-on. Which is the best way to learn how to be an engineer. Get in here and do stuff.
Our learning platform, Learn Pro Recording(.com), has online courses and one-on-one coaching remotely or in person. The best way to learn, in my opinion. Learn Pro Recording also has a membership/Community that offers monthly workshops, Monthly Group Coaching Calls, and Live events. Plus, weekly training for all sorts of things studio related. Such as Micing a drum kit, recording vocals, which microphone sounds better on an acoustic guitar, etc., etc.
I also teach for an accredited learning program called Recording Connection which places its students in a working studio to learn how to work in a studio. What a concept. Learning while doing. Yes, please.
We teach more than just how to be an audio engineer/producer/studio owner. We teach you how to do business as an audio engineer/producer/studio owner. All of the good and bad. We share with you and coach you into becoming the business person you want to become in the music game. Your success is our reward.
We all face challenges, but looking back would you describe it as a relatively smooth road?
Yes. There have been struggles along the way. But, looking back on what it took to get where I am today. It’s not been that bad.
When I first moved to LA, I didn’t know anyone. I had no family or friends, or money. I lived in my truck for about six months.
While living in my truck, I didn’t realize it. But I guess I was homeless. It didn’t feel like that at all at the time. I thought it was more of being frugal.
I never told my Mom that I was living in my truck. That never came up in our weekly phone calls. I didn’t need her to worry. I was fine. I just treated it like camping.
The thing is if you truly want something. You need to get up and go get it. No one will randomly walk up to you on the sidewalk and say – Oohh, you look awesome. I want you to be in my movie. Or, Hey, I like how you smell, would you like to manage my recording studio?
There were, of course, times when things seemed hopeless and scary. But I pushed through and found it motivating when things got tough. That made me work that much more to get the thing done.
The more I think about it, it was hard getting here. But I would not change a thing. Well, maybe one. I should have bought a house when I had all that money from working for a super big artist for 18 months. But hey. I was 26 and stupid. Again with the hindsight stuff.
My Dad knew that I was the kind of person who, if you told me that I couldn’t do something. That made me go harder to get it done. Maybe to prove you wrong, but that sounds mean. For instance, if you told me, ” You can’t jump off that bridge into the river.” I would say, ” Hold my beer” – “Hey, Y’all, watch this” – So, when I left for the big city. My Dad said. “You’ll be back soon enough. You’re not going to make it.” You’ll be calling asking for money next week.”
I never called and asked for anything. I was determined to make it happen. I guess I did alright. I didn’t go home again until I felt I could go there without seeming like a failure. I went home for a visit after being gone for 23 years.
See Dad? I told you. I think he did that as a motivation for me to stay and work instead of coming home as a failure.
Whatever the reason. I made it work because I had the drive and the passion.
If you want something, go get it.
Great, so let’s talk business. Can you tell our readers more about what you do and what you think sets you apart from others?
We have been a recording studio since 2003. Our first few years were spent at a small facility in North Hollywood, CA – We outgrew that spot quickly and had to find a larger space. This building in Glendale became available, and we jumped in. This spot used to be a post-production studio.
We wanted to build something unique and different from most studios in the neighborhood. We stayed true to analog, bringing in actual consoles instead of digital controllers. And we just wanted an eclectic, vibey spot that feels more like home than a studio.
I’ve been to some other studios, some of which remind me of going to the dentist. No, thank you.
Here at ES Audio, we are more about the sounds than the latest and greatest updated software, etc. Some of my favorite sounds come from crappy microphones placed in a strange way that makes some people question my thought process and sanity.
Yes. We still have Analog Tape Machines. We also use modern tools; We are mostly Pro Tools based. But also enjoy Logic, Ableton Live, Studio One, and FL Studio. Depending upon the genre we are working on.
We have three studios in this building. Studio A is our larger studio with 4 ISO rooms centered around an Audient ASP4816 Analog Console. Plus, a score of vintage and modern mic pre’s and other outboard gear.
Our Studio B is a bit smaller and has a nice size booth. Studio B studio also is centered around an Analog Console. An Allen & Heath GS3000 from 1995.
Next, we have a Podcast Studio. We have up to 6 cameras for your podcast and can stream live to multiple platforms simultaneously with video and audio. We use Blackmagic Designs ATEM Switchers to keep things moving while live streaming. We can also help edit and post your podcast if needed.
We are known for our drum recordings. We have a great-sounding space for drums. Plus, an amazing mic locker and awesome vintage gear to help keep us unique. Not to mention the passion for finding new and innovative ways to record sounds. We have a saying around here. I actually borrowed from CLA – “Record like you’re not going mix and mix like you’re not going to master.” Make your thing sound the way you want it to sound, and press record.
It’s been working so far.
I have been nominated four times for a Grammy. We were part of a Grammy-winning project this year – So now we can say that we are a Grammy-winning studio. The project that won for best musical theater album (Barlow & Bear – The unofficial Bridgerton Musical) was recorded and mixed here at ES Audio Recording Studios.
Also, some of our drum recordings were part of a 2022 i-Heart Music Award-winning project. (All Time Low – Monsters)
We have been fortunate to have worked with some amazing artists and projects throughout the almost 20 years. It would take a whole book to list all the projects that I am proud to say that we’ve helped with.
What has been the most important lesson you’ve learned along your journey?
Man, That’s a tough question. There are so many things.
I think one of the biggest things to learn in this space is – Don’t be a dick.
Sometimes, you and the client just click, even if you are not the best engineer/producer. That client will continue to call you simply because you make them feel comfortable and safe to do what they do best. And they like working with you.
Remember, as an engineer, you are a part of that artist’s project. You may not be contributing creatively. But you a big part of how the artist feels when they are in the booth. Just be super supportive and encouraging. Don’t let the artist know when things are crashing all around you.
Suppose the computer catches fire while the singer is in their zone. Quietly get a new computer and keep recording without letting them know the computer just blew up. The artist does not need to know about problems that you can control.
Keep the interest in the project, not the issues.
Pricing:
- Studio A $65 per hour
- Studio B $45 Per hour
- Podcast starts at $25 per hour
- Engineers start at $25 per hour
Contact Info:
- Website: www.ESAudio.com
- Instagram: https://www.instagram.com/es_audio_recording_studios/
- Facebook: https://www.facebook.com/OPENCALLPRODUCTIONS
- Twitter: https://twitter.com/musicandpost
- Youtube: https://www.youtube.com/channel/UCK1saZ1abCNc2TM9McTyutg
- Other: www.LearnProRecording.com
Image Credits
Brendan Baker – BGBPhoto.com
