| Producer - Jason Alan Johnson |
I come from a large family of musicians. My grandfather, George Grant was a founding
member of the original Ink Spots. His high tenor voice is considered the first example of the
popular "high tenor" lead in doowop groups of the era. He was inducted into the Doo Wop Hall
of Fame at the turn of the century. My Grandmother, Teresa Botial Richardson, acquired a
record deal with Motown. Her act was managed by Smokey Robinson. Musicianship
manifested in my parents and cousins; most of my family either sings or plays an instrument.
member of the original Ink Spots. His high tenor voice is considered the first example of the
popular "high tenor" lead in doowop groups of the era. He was inducted into the Doo Wop Hall
of Fame at the turn of the century. My Grandmother, Teresa Botial Richardson, acquired a
record deal with Motown. Her act was managed by Smokey Robinson. Musicianship
manifested in my parents and cousins; most of my family either sings or plays an instrument.
My first instrument was piano. I started taking lessons at the age of 7. Then I studied violin
in school, and later percussion. I was lucky to attend Mt. Lebanon High School. Their
percussion academy is the best in the country. With a full scholarship, I attended the music
program at Alderson-Broaddus College, and later transferred to Berklee College of Music which
is considered the most prestigious contemporary music school in the world. There I majored in
Music Business/Management.
in school, and later percussion. I was lucky to attend Mt. Lebanon High School. Their
percussion academy is the best in the country. With a full scholarship, I attended the music
program at Alderson-Broaddus College, and later transferred to Berklee College of Music which
is considered the most prestigious contemporary music school in the world. There I majored in
Music Business/Management.
At 17, I started my first business promoting concerts in Pittsburgh, PA. Potent Productions grew to provide live sound
reinforcement for concerts throughout the entire Northeastern United States. Meanwhile, I built a number of basement recording
studios, wherein I produced Demos and EP's with several independent recording artists. Thus, my roots, as a record producer
began in the home studio environment. In 2000, I built my first commercial recording studio in Carnegie, PA. Power Pye Studios
contained only one tracking room and one Iso-booth, but still produced several albums, EP's and demos. I was the facility's staff
producer. In 2002, I collaborated with fellow producer, Phenom, at Avatar Studios in New York, NY. I worked in excellent
sounding rooms; with some of the best recording equipment that money can buy; around recording artists like Eric Clapton, Missy
Elliott and Mary J Blige. In 2003 we merged Power Pye Studios with AAM Studios in Pittsburgh's northside area, making us the
largest commercial recording studio in the city. AAM was previously called Anything Audio, and Audiomation prior to that.
reinforcement for concerts throughout the entire Northeastern United States. Meanwhile, I built a number of basement recording
studios, wherein I produced Demos and EP's with several independent recording artists. Thus, my roots, as a record producer
began in the home studio environment. In 2000, I built my first commercial recording studio in Carnegie, PA. Power Pye Studios
contained only one tracking room and one Iso-booth, but still produced several albums, EP's and demos. I was the facility's staff
producer. In 2002, I collaborated with fellow producer, Phenom, at Avatar Studios in New York, NY. I worked in excellent
sounding rooms; with some of the best recording equipment that money can buy; around recording artists like Eric Clapton, Missy
Elliott and Mary J Blige. In 2003 we merged Power Pye Studios with AAM Studios in Pittsburgh's northside area, making us the
largest commercial recording studio in the city. AAM was previously called Anything Audio, and Audiomation prior to that.
Something Tan, by
Esquevez, was the first
internationally released
album containing my
production. I collaborated
with the band on several
tracks and produced the
track entitled, "The Story
of Joe".
Esquevez, was the first
internationally released
album containing my
production. I collaborated
with the band on several
tracks and produced the
track entitled, "The Story
of Joe".
I produced the track, "Eden"
on SoZe's "Seeking The
Muse". I collaborated on the
album's other tracks. I also
handled executive production
on the project. When Seeking
The Muse was near
completion, SoZe signed a
record deal with an Indy label
called Wail Records.
on SoZe's "Seeking The
Muse". I collaborated on the
album's other tracks. I also
handled executive production
on the project. When Seeking
The Muse was near
completion, SoZe signed a
record deal with an Indy label
called Wail Records.
The fundamentals of my recording method are not only used in record production, but also in recording studio design. I have
designed home studios for many independent musicians and businesses across the country. Many of the world's best musicians are
independent. The vast majority of those musicians will never become successful independent recording artists.
As CEO of Art Beyond Audio, I hope to change this.
As you continue to explore this website, you will learn the fundamentals of my recording method, and you will have access to the
Art Beyond Audio Group, though discussion forms at the bottom of each page. Please feel free to ask questions or to challenge my
ideas.
designed home studios for many independent musicians and businesses across the country. Many of the world's best musicians are
independent. The vast majority of those musicians will never become successful independent recording artists.
As CEO of Art Beyond Audio, I hope to change this.
As you continue to explore this website, you will learn the fundamentals of my recording method, and you will have access to the
Art Beyond Audio Group, though discussion forms at the bottom of each page. Please feel free to ask questions or to challenge my
ideas.
My book, entitled The Record Producer, shares my
experience within the music industry as the digital
music revolution began. I describe specific
recording concepts and philosophies which I
developed with the help of numerous professional
record producers and engineers. Most importantly,
I describe how I shifted my approach to the
industry given the new environment. I truly believe
that reading The Record Producer will give any
independent recording artist a distinct advantage, as
we head into the future digital music industry. I
trust that independent musicians will have all of the
knowledge required to produce and sell their own
records in the future.
experience within the music industry as the digital
music revolution began. I describe specific
recording concepts and philosophies which I
developed with the help of numerous professional
record producers and engineers. Most importantly,
I describe how I shifted my approach to the
industry given the new environment. I truly believe
that reading The Record Producer will give any
independent recording artist a distinct advantage, as
we head into the future digital music industry. I
trust that independent musicians will have all of the
knowledge required to produce and sell their own
records in the future.
I learned a lot about production at Power Pye, but nothing compared to the discoveries I made when I brought professional
recording equipment back into a home studio environment. My business partner Chris Brown designed an absolutely state of the
art on-location recording rig, and I began seeking out good acoustics, as the house had no tracking room. Necessity truly is the
mother of invention, as in 2003, I began to develop the Johnson Recording Method. Before I moved west, I helped a fellow
musician set up a basement studio (I cannot mention his name, but he may or may not have played keyboard on the track entitled
"Funkytown"). After building a home studio in Phoenix, AZ; I began helping other independent recording artists in the Phoenix area.
I set up recording facilities, home and bedroom studios, as well as studios and live recording rigs in multiple local churches.
recording equipment back into a home studio environment. My business partner Chris Brown designed an absolutely state of the
art on-location recording rig, and I began seeking out good acoustics, as the house had no tracking room. Necessity truly is the
mother of invention, as in 2003, I began to develop the Johnson Recording Method. Before I moved west, I helped a fellow
musician set up a basement studio (I cannot mention his name, but he may or may not have played keyboard on the track entitled
"Funkytown"). After building a home studio in Phoenix, AZ; I began helping other independent recording artists in the Phoenix area.
I set up recording facilities, home and bedroom studios, as well as studios and live recording rigs in multiple local churches.
As a record producer, my challenge has always been to
achieve the best possible sound, less expensively and in less
time. I developed the Johnson Recording Method with this
in mind. I taught seminars on the recording method, but the
attendees were often sceptical. Some said, "It can't be that
simple." I decided to prove that my recording method is the
cheapest and most efficient way to produce an album.
So I wrote, recorded, mastered and internationally
distributed a full album in 6 months on a budget of 200
dollars. The album entitled, Numbers.
achieve the best possible sound, less expensively and in less
time. I developed the Johnson Recording Method with this
in mind. I taught seminars on the recording method, but the
attendees were often sceptical. Some said, "It can't be that
simple." I decided to prove that my recording method is the
cheapest and most efficient way to produce an album.
So I wrote, recorded, mastered and internationally
distributed a full album in 6 months on a budget of 200
dollars. The album entitled, Numbers.
I produced the audio for the
independent film "Kill Bitch". I
hand picked independent
music for the film's sound
track, produced and edited
sound effects, and all ADR
(which was substantial). This
film was awarded Best
Feature Length Comedy -
MPC Fall Film Festival 2003,
Winner! - Bare Bones
International Independent Film
Festival 2004, and Winner! -
Melbourne Underground Film
Festival 2004.
independent film "Kill Bitch". I
hand picked independent
music for the film's sound
track, produced and edited
sound effects, and all ADR
(which was substantial). This
film was awarded Best
Feature Length Comedy -
MPC Fall Film Festival 2003,
Winner! - Bare Bones
International Independent Film
Festival 2004, and Winner! -
Melbourne Underground Film
Festival 2004.