WELCOME!
You've found the Lorne Entress website. Below are questions that I'm most commonly asked about music production. Regardless of what stage you're at planning your record, feel free to contact me to chat about what I do and how I may be able to help. I can be reached at (860) 633-6379 (studio) or (860) 983-3190 (cell.) Or email me by clicking on the email icon at the top right.
WHAT LABELS HAVE YOU PRODUCED CDS FOR?
Warner Bros, JVC, Signature Sounds, Stony Plain, Compass Records, Kingswood Records. I've also produced many self-released CDs.
WHAT TYPE OF MUSIC DO YOU USUALLY PRODUCE?
I don't limit myself to one genre, but most of my productions have been of the singer/songwriter variety, from roots/acoustic to more modern folk/pop and rock. I’ve also produced jazz and blues records. I love American roots music and traditional instrumentation, but I equally love modern, out-of-the-box touches. Sound is sound, and I don’t approach arranging with a dogmatic list of what to use and what not to use. I love collecting instruments old and new and I experiment and listen for what best illumines the song and supports the voice.
HOW LONG HAVE YOU BEEN PRODUCING?
For close to twenty years, but with a serious pursuit the last ten years. Prior to that I was always the guy in the band “suggesting” what others should play.
WHAT CD’S HAVE YOU PRODUCED?
Most notably would be:
Bittertown -- Lori McKenna
Long Night Moon -- Catie Curtis
Stretch Limousine On Fire -- Catie Curtis
Where the Artists Go -- Hayley Reardon
Sugar Shack -- The Boxcar Lilies
Give It Up To Love -- Mighty Sam McLain
Mark Erelli -- Mark Erelli
Hillbilly Pilgrim -- Mark Erelli
The Memorial Hall Recordings -- Mark Erelli
Compass and Companion -- Mark Erelli
Hope and other Casualties -- Mark Erelli
One Time -- Amy Black
Hope Radio -- Ronnie Earl
A Life I Never Had -- Alastair Moock
Haunted Heart -- Susan Cattaneo (Jan. 2014)
Jasmine Parade -- Jenna Lindbo
WHAT DO YOU AS A PRODUCER ACTUALLY DO?
Just about anything except write and sing the songs. (Although I do get into editing and co-writing songs when needed.) I relieve the chore aspect of recording from the artist so that their focus can be on writing and performance. By that I mean, coming up with a budget, booking sessions, hiring musicians, setting up rehearsals, writing chord charts, renting recording gear, etc. It can be intimidating for an artist to deal with engineers, hired musicians, and the technical side of recording because it’s not something they do everyday. As producer I become the artist’s point person and confidante throughout the process. I do a good degree of the engineering, most of the editing, and will also mix depending on the project. It’s my job to oversee the recording at all levels, from pre-production through mastering, and I do this in complete cooperation with the artist. I love the breadth of production and being a part of every single detail--the macro and the micro so to speak. But the most meaningful part of the process for me is arranging the music and working with the artist and musicians to get great performances.
ARE YOU AN ENGINEER?
Yes. Having engineering skills helps me get deep into the sound and process of a recording, and helps keep budget costs down too. When I’m producing full band sessions I usually use an outside studio/engineer so that I can focus on performance. Otherwise most of the work gets done at my home studio, Busterland.
DO YOU PLAY AN INSTRUMENT?
I play many instruments, but the one I’m most schooled at is drums. I often play drums on my productions, but I enjoy using other drummers too and have hired the likes of Marco Giovino (Buddy Miller, Robert Plant), Jay Bellerose (Ray LaMontagne) and John Sands (Aimee Mann). Sometimes artists mistakenly think that because I play the drums I will insist that drums be a part of their CD. This is absolutely not the case. I try to let the songs lead the way, and if that means no drums I'm fine with that. On my productions I’ve also played piano, Hammond organ, synths, reed organ, accordion, Wurlitzer piano, celestaphone, mandolin, uke, bass, acoustic and elec. guitars, orchestra bells, vibraphone, and others I’m probably forgetting. I sometimes add vocal harmonies too if my voice is a good match for the project.
WHO DO YOU HIRE AS STUDIO MUSICIANS?
I’m blessed to have working relationships with many great musicians. Here’s a short list of some that I’ve hired for productions: Kevin Barry (Rosanne Cash, Ray Lamontagne), Kenny White (Peter Wolf), Glenn Patscha (Ollabelle, Sheryl Crow, Ryan Adams), Stuart Duncan (almost everybody), Jay Bellerose (T-Bone Burnett, Gregg Allman), Duke Levine (Mary Chapin Carpenter, Lucy Kaplansky, Slaid Cleaves), Richard Gates (Patty Larkin, Suzzane Vega), Dave Limina, Jesse Williams and many others. I find it does not pay to skimp on using the best players possible. If an artist’s instrumentalist or band is an integral part of their sound I’m open to recording with them. I always work closely with the artist when choosing musicians for a project, and it’s important that there’s an agreed upon consensus.
WHO MAKES THE FINAL DECISIONS, THE ARTIST OR THE PRODUCER?
It’s vitally important for each to listen to the other, to hear the other’s point of view and be open to trying new things. As producer I run the sessions so to speak, but always with an eye on the artist to make sure they’re fully engaged and inspired. Some artists are heavily involved in the details, others prefer to be free of them. I’m comfortable working with those differing dynamics. When it comes to creative decisions I feel that the artist and producer should always work towards a consensus -- I want the artist to love EVERYTHING about the record.
WHAT IS YOUR FEE?
I work on a sliding scale depending on the budget demands and the scope of a project. Once the musical goal comes into focus, I come up with a working budget that includes a flat fee for my services. I prefer working for a flat fee because there are no budget surprises, and I can be as patient as I need to be.
WHERE DO YOU USUALLY RECORD?
Living in Connecticut I usually record in New England or NYC. But I’ve also recorded in Nashville and Los Angeles, and I’m always open to new locales if it makes sense to do so. In the Northeast I have an intimate knowledge of the top studios, and what works best for a particular need. (Such as who has the best piano, where's the best place to track guitars, etc.) I often use multiple studios for one project. I do much of the overdubbing, editing, and mixing in my own home studio, Busterland, here in Glastonbury CT.
DO YOU ONLY PRODUCE FULL LENGTH CDS?
No. I’ve produced EPs and single tracks too.
DO YOU SIGN A CONTRACT WITH THE ARTIST?
I have a Producer Agreement that I use that can be amended or altered to fit the particular production. I’ve found that putting things to paper defines the business relationship, eliminates misunderstandings, and allows the artist and myself to focus on the music. I produce on a “work for hire” basis, and the artist maintains complete ownership of their recording.
DO YOU STILL DRUM FOR OTHER ARTISTS OR ARE YOU SOLELY A PRODUCER NOW?
Production is my main focus these days but I love drumming and always will. I've had the privilege of drumming for Big Al Anderson, Dave Carter and Tracy Grammer, Susan Tedeschi, The Shinolas, Vance Gilbert, Ollabelle, Freedy Johnston, Erin McKeown and many others. For a fairly complete list of Lorne Entress album credits click HERE.
You've found the Lorne Entress website. Below are questions that I'm most commonly asked about music production. Regardless of what stage you're at planning your record, feel free to contact me to chat about what I do and how I may be able to help. I can be reached at (860) 633-6379 (studio) or (860) 983-3190 (cell.) Or email me by clicking on the email icon at the top right.
WHAT LABELS HAVE YOU PRODUCED CDS FOR?
Warner Bros, JVC, Signature Sounds, Stony Plain, Compass Records, Kingswood Records. I've also produced many self-released CDs.
WHAT TYPE OF MUSIC DO YOU USUALLY PRODUCE?
I don't limit myself to one genre, but most of my productions have been of the singer/songwriter variety, from roots/acoustic to more modern folk/pop and rock. I’ve also produced jazz and blues records. I love American roots music and traditional instrumentation, but I equally love modern, out-of-the-box touches. Sound is sound, and I don’t approach arranging with a dogmatic list of what to use and what not to use. I love collecting instruments old and new and I experiment and listen for what best illumines the song and supports the voice.
HOW LONG HAVE YOU BEEN PRODUCING?
For close to twenty years, but with a serious pursuit the last ten years. Prior to that I was always the guy in the band “suggesting” what others should play.
WHAT CD’S HAVE YOU PRODUCED?
Most notably would be:
Bittertown -- Lori McKenna
Long Night Moon -- Catie Curtis
Stretch Limousine On Fire -- Catie Curtis
Where the Artists Go -- Hayley Reardon
Sugar Shack -- The Boxcar Lilies
Give It Up To Love -- Mighty Sam McLain
Mark Erelli -- Mark Erelli
Hillbilly Pilgrim -- Mark Erelli
The Memorial Hall Recordings -- Mark Erelli
Compass and Companion -- Mark Erelli
Hope and other Casualties -- Mark Erelli
One Time -- Amy Black
Hope Radio -- Ronnie Earl
A Life I Never Had -- Alastair Moock
Haunted Heart -- Susan Cattaneo (Jan. 2014)
Jasmine Parade -- Jenna Lindbo
WHAT DO YOU AS A PRODUCER ACTUALLY DO?
Just about anything except write and sing the songs. (Although I do get into editing and co-writing songs when needed.) I relieve the chore aspect of recording from the artist so that their focus can be on writing and performance. By that I mean, coming up with a budget, booking sessions, hiring musicians, setting up rehearsals, writing chord charts, renting recording gear, etc. It can be intimidating for an artist to deal with engineers, hired musicians, and the technical side of recording because it’s not something they do everyday. As producer I become the artist’s point person and confidante throughout the process. I do a good degree of the engineering, most of the editing, and will also mix depending on the project. It’s my job to oversee the recording at all levels, from pre-production through mastering, and I do this in complete cooperation with the artist. I love the breadth of production and being a part of every single detail--the macro and the micro so to speak. But the most meaningful part of the process for me is arranging the music and working with the artist and musicians to get great performances.
ARE YOU AN ENGINEER?
Yes. Having engineering skills helps me get deep into the sound and process of a recording, and helps keep budget costs down too. When I’m producing full band sessions I usually use an outside studio/engineer so that I can focus on performance. Otherwise most of the work gets done at my home studio, Busterland.
DO YOU PLAY AN INSTRUMENT?
I play many instruments, but the one I’m most schooled at is drums. I often play drums on my productions, but I enjoy using other drummers too and have hired the likes of Marco Giovino (Buddy Miller, Robert Plant), Jay Bellerose (Ray LaMontagne) and John Sands (Aimee Mann). Sometimes artists mistakenly think that because I play the drums I will insist that drums be a part of their CD. This is absolutely not the case. I try to let the songs lead the way, and if that means no drums I'm fine with that. On my productions I’ve also played piano, Hammond organ, synths, reed organ, accordion, Wurlitzer piano, celestaphone, mandolin, uke, bass, acoustic and elec. guitars, orchestra bells, vibraphone, and others I’m probably forgetting. I sometimes add vocal harmonies too if my voice is a good match for the project.
WHO DO YOU HIRE AS STUDIO MUSICIANS?
I’m blessed to have working relationships with many great musicians. Here’s a short list of some that I’ve hired for productions: Kevin Barry (Rosanne Cash, Ray Lamontagne), Kenny White (Peter Wolf), Glenn Patscha (Ollabelle, Sheryl Crow, Ryan Adams), Stuart Duncan (almost everybody), Jay Bellerose (T-Bone Burnett, Gregg Allman), Duke Levine (Mary Chapin Carpenter, Lucy Kaplansky, Slaid Cleaves), Richard Gates (Patty Larkin, Suzzane Vega), Dave Limina, Jesse Williams and many others. I find it does not pay to skimp on using the best players possible. If an artist’s instrumentalist or band is an integral part of their sound I’m open to recording with them. I always work closely with the artist when choosing musicians for a project, and it’s important that there’s an agreed upon consensus.
WHO MAKES THE FINAL DECISIONS, THE ARTIST OR THE PRODUCER?
It’s vitally important for each to listen to the other, to hear the other’s point of view and be open to trying new things. As producer I run the sessions so to speak, but always with an eye on the artist to make sure they’re fully engaged and inspired. Some artists are heavily involved in the details, others prefer to be free of them. I’m comfortable working with those differing dynamics. When it comes to creative decisions I feel that the artist and producer should always work towards a consensus -- I want the artist to love EVERYTHING about the record.
WHAT IS YOUR FEE?
I work on a sliding scale depending on the budget demands and the scope of a project. Once the musical goal comes into focus, I come up with a working budget that includes a flat fee for my services. I prefer working for a flat fee because there are no budget surprises, and I can be as patient as I need to be.
WHERE DO YOU USUALLY RECORD?
Living in Connecticut I usually record in New England or NYC. But I’ve also recorded in Nashville and Los Angeles, and I’m always open to new locales if it makes sense to do so. In the Northeast I have an intimate knowledge of the top studios, and what works best for a particular need. (Such as who has the best piano, where's the best place to track guitars, etc.) I often use multiple studios for one project. I do much of the overdubbing, editing, and mixing in my own home studio, Busterland, here in Glastonbury CT.
DO YOU ONLY PRODUCE FULL LENGTH CDS?
No. I’ve produced EPs and single tracks too.
DO YOU SIGN A CONTRACT WITH THE ARTIST?
I have a Producer Agreement that I use that can be amended or altered to fit the particular production. I’ve found that putting things to paper defines the business relationship, eliminates misunderstandings, and allows the artist and myself to focus on the music. I produce on a “work for hire” basis, and the artist maintains complete ownership of their recording.
DO YOU STILL DRUM FOR OTHER ARTISTS OR ARE YOU SOLELY A PRODUCER NOW?
Production is my main focus these days but I love drumming and always will. I've had the privilege of drumming for Big Al Anderson, Dave Carter and Tracy Grammer, Susan Tedeschi, The Shinolas, Vance Gilbert, Ollabelle, Freedy Johnston, Erin McKeown and many others. For a fairly complete list of Lorne Entress album credits click HERE.
