Recording - May 2013 - 56

Continued from page 55
title theme for In The Bedroom with Dr. Laura
Berman, Duck Dynasty, Access Hollywood, The
Dr. Oz Show, The Oprah Winfrey Show, NBC
Nightly News, The Today Show, Bad Girls Club,
and Teen Mom, to name just a few He just had
his 1,000th placement a couple of weeks ago!
In addition to his full-time writing schedule,
Barry also maintains a full-time day job, for
now! This year’s Rally marks the start of Year
Number 4 of his Five -Year Plan. Barry lives in
the Nashville area with his wife and two cats.
By the way, Barry has lost over 100 lbs. in the
past 7 months!!!
Dean Krippaehne is a songwriter and producer
whose credits include: The Oprah Winfrey
Show, One Life to Live, Parenthood, Vampire
Diaries, The Dr. Oz Show, The Today Show, Say

“In the beginning… I didn’t have a
five-year plan, so I was kind of just
messing around trying to figure
things out.”
—Matt Hirt
Yes to the Dress, Friends with Benefits, The Hills,
Duck Dynasty, The Secret Circle, Bad Girls Club,
and Chris Rock’s Good Hair, to name a few. He
currently produces music for T-Mobile (corporate), and has 40 songs in rotation on Muzak.
As a songwriter, Dean has earned two
platinum records as well as a Billboard Top 10
with the amazing Stefanie Heinzmann (Universal). Virtually all of those accomplishments
have happened as a result of connections,
deals, and relationships made through TAXI.
Dean is founder of Retro Media Collective,
continues to work with multiple indie artists,
and writes the weekly music production blog:
TheBellyOfTheBeat.com.
I’m amazed by the discipline of the guys on this
panel. You guys amaze me. [applause] Matt, how
many years has it taken you to get to 1,500 tracks
in your catalog.
Matt: Ummm. Twelve or something like that.
One of the things I want to point out is that I
got a lot more prolific as time went on because
I got better and faster at it. So in the beginning
it was like really a trickle, and then it sort of
[picked up steam].
Tell us what the first five years were like. Like
how many tracks in a week did you do? What kind
of money did you make year #1?
Matt: Well, I had a nice little graph that I had
and it’s in my hotel room. Unfortunately, they
gave me like the crappiest hotel room and the
door lock doesn’t work half the time, so I
56

couldn’t get in there to get it.
Why didn’t you call me and tell me?
Matt: Well, umm, I’m telling you now.
[laughter]
Anthony, can you text Nellie and ask her to get
Matt Hirt moved to a better room, please? Thank
you.
Matt: So anyway, I think the first year I made
$2,500; the next year I made $2,200—not very
encouraging; the next year I made $8,000; the
next year I made $15,000; then, the next year I
made about $25,000. Then, it was kind of off
to the races from there. But in the beginning, I
have to point out I didn’t have a five-year plan,
so I was kind of just messing around trying to
figure things out. I was not organized like
these guys; I was not writing a lot. I was kinda
hangin’ out…
That’s funny, because you don’t strike me as a
pot-smoking hippie who hangs out and watches
TV all day.
Matt: I wasn’t smoking pot, and I wasn’t
watching TV. But I was like going to the beach
and things like that.
You’re still Mr. Outdoors. I am so jealous of
Matt… because twice a year he’ll send an email
to everybody in his circle saying, “I’ll be in the
mountains with no cell phone for a week.” He literally does that. He will go by himself hiking in
the mountains for a week looking for grizzly
bears.
Dean: You always know Matt’s coming
because the soundtrack for Survivor is playing.
[laughter]
John, I’ve seen you quoted as saying, “Play to
your strengths, but don’t be afraid to step out of
your wheelhouse.” I think that’s great advice.
How did you figure out what your strengths are?
And what did you mean by don’t be afraid to step
out of your wheelhouse?
John: Well, I started narrowing down what
my strengths are when I realized that, even
though I have MIDI and a bunch of sounds, I
can’t do every style in the planet, even though
I try to. I think you have to go with what
comes naturally to you, because that’s what
you love to do. Really hone that. I like a lot of
different types of music, but I can’t do all the
types of music that I like. So what do I do well,
and what do I think I can pull off with my
setup, and who can I get to help me? I don’t
play guitar, so I’ll get Barry or somebody to do
a guitar track for me, or co-write with me. Cowriting is awesome. That’s one way to expand

your area of influence. That’s really been powerful, and I know all of us do that, and a lot of
people out there collaborate. It’s pretty awesome. That’s one way to step out of your
wheelhouse stylistically, because it’s all about
style and genre. That’s the language of the
music industry: “Give me something that
sounds like dub-step polka,” or whatever. But
stretch that way, and don’t be afraid to suck.
Because it’s probably gonna suck at first, you
know. And be really realistic with yourself. I
can’t do everything! I thought I could, you
know.
I’m amazed about how much commonality there
is among you guys and our most successful members across the board. The things that are coming
out of your mouths... The Five-Year Plan, the formula is so obvious to me. I know you guys know
this. Almost anybody in this room can do what
you do. Not that I’m diminishing your talent by
any stretch of the imagination. But with some
with some modicum of innate talent, anybody
with hard work can be any one of these guys. I
swear. I know that to be true.
Dave, you say that your lowest quarterly payment
was about $90 and your highest was about
$10,000. How did you stay emotionally strong
enough to hang in there and keep working after
getting a $90 check in the mail?
Dave: Well, I’ll tell you what—most of it was
through the TAXI Forum. And the reason
being was that there were real people on the
TAXI Forum. These were people that I got to
know. You know, it’s one thing to see a TAXI
ad and have a company that I’ve never heard of
that’s in California say that they do all these

“Step out of your wheelhouse stylistically, because it’s all about style and
genre. That’s the language of the
music industry: ‘Give me something
that sounds like dub-step polka,’ or
whatever. But stretch that way, and
don’t be afraid to suck.”
—John Mazzei
things, then it’s a whole different thing to actually meet these people and find out that the
idea of getting music into film and television
is very common. I mean, in the whole TAXI
Rally, it’s the most common thing to have people say, “Oh yeah, I’ve got music in this and
this and this.” In Cape Girardeau (Missouri)
it’s very uncommon. I tell people what I do. I
Continued on page 59


http://www.TheBellyOfTheBeat.com

Recording - May 2013

Table of Contents for the Digital Edition of Recording - May 2013

Recording - May 2013
Fade In
Contents
Talkback
Fast Forward
Jim Anderson Records Patricia Barber
Lewitt Authentica LCT 940
PreSonus Eris Series High-Definition Studio Monitors
How To Record Great Vocals At Home
Audio-Technica AT5040 Studio Vocal Microphone
Plug-ins To The Rescue—Real-Life Remedies For Vocal Tracks
Moon Professional 3500MP 2-Channel Microphone Preamp
DPA Microphones d:fine Series Headset Microphones
Plug-in Outlet: Toontrack EZmix Pack: Vocal Toolbox
Plug-in Outlet: iZotope Nectar Elements
Blue Spark Digital USB Microphone
Plug-in Outlet: Noveltech Vocal Enhancer (and Character)
Readers' Tapes
Recording Fundamentals. Chapter 17: Sweet Spot Conundrums—Part 4
CAD Audio Acousti-shield 32
Advertiser Index
Fade Out
Recording - May 2013 - Intro
Recording - May 2013 - Recording - May 2013
Recording - May 2013 - Cover2
Recording - May 2013 - 1
Recording - May 2013 - 2
Recording - May 2013 - 3
Recording - May 2013 - Fade In
Recording - May 2013 - 5
Recording - May 2013 - Contents
Recording - May 2013 - 7
Recording - May 2013 - Talkback
Recording - May 2013 - 9
Recording - May 2013 - Fast Forward
Recording - May 2013 - 11
Recording - May 2013 - 12
Recording - May 2013 - 13
Recording - May 2013 - Jim Anderson Records Patricia Barber
Recording - May 2013 - 15
Recording - May 2013 - 16
Recording - May 2013 - 17
Recording - May 2013 - Lewitt Authentica LCT 940
Recording - May 2013 - 19
Recording - May 2013 - PreSonus Eris Series High-Definition Studio Monitors
Recording - May 2013 - 21
Recording - May 2013 - 22
Recording - May 2013 - 23
Recording - May 2013 - How To Record Great Vocals At Home
Recording - May 2013 - 25
Recording - May 2013 - 26
Recording - May 2013 - 27
Recording - May 2013 - 28
Recording - May 2013 - 29
Recording - May 2013 - 30
Recording - May 2013 - 31
Recording - May 2013 - 32
Recording - May 2013 - 33
Recording - May 2013 - Audio-Technica AT5040 Studio Vocal Microphone
Recording - May 2013 - 35
Recording - May 2013 - 36
Recording - May 2013 - 37
Recording - May 2013 - Plug-ins To The Rescue—Real-Life Remedies For Vocal Tracks
Recording - May 2013 - 39
Recording - May 2013 - Moon Professional 3500MP 2-Channel Microphone Preamp
Recording - May 2013 - 41
Recording - May 2013 - DPA Microphones d:fine Series Headset Microphones
Recording - May 2013 - 43
Recording - May 2013 - Plug-in Outlet: Toontrack EZmix Pack: Vocal Toolbox
Recording - May 2013 - 45
Recording - May 2013 - Plug-in Outlet: iZotope Nectar Elements
Recording - May 2013 - 47
Recording - May 2013 - 48
Recording - May 2013 - 49
Recording - May 2013 - Blue Spark Digital USB Microphone
Recording - May 2013 - 51
Recording - May 2013 - Plug-in Outlet: Noveltech Vocal Enhancer (and Character)
Recording - May 2013 - 53
Recording - May 2013 - Readers' Tapes
Recording - May 2013 - 55
Recording - May 2013 - 56
Recording - May 2013 - 57
Recording - May 2013 - 58
Recording - May 2013 - 59
Recording - May 2013 - Recording Fundamentals. Chapter 17: Sweet Spot Conundrums—Part 4
Recording - May 2013 - 61
Recording - May 2013 - 62
Recording - May 2013 - 63
Recording - May 2013 - CAD Audio Acousti-shield 32
Recording - May 2013 - Advertiser Index
Recording - May 2013 - 66
Recording - May 2013 - 67
Recording - May 2013 - 68
Recording - May 2013 - 69
Recording - May 2013 - 70
Recording - May 2013 - 71
Recording - May 2013 - Fade Out
Recording - May 2013 - Cover3
Recording - May 2013 - Cover4
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