Relatively new to the game, and is already aiming for the takeover. He is always eager to work with new artists, to get a feel of different ways to make a beat that will help bring out the best in the vocalist. Some of his biggest inspirations include J'Dilla, Knxwledge, Flying Lotus, !llmind, and Frank Dukes. Heavily fond of sample digging from soul, jazz, and R&B tunes, Da'Vinci will persist in his production until he gets that perfect flip. Looking to evolve their music, they came across Max The Engineer, who helped them fine tune their sound. Together, they worked on their craft releasing their first EP titled "The Dope" in early 2019. ![]() Da'Vinci began producing by the request of a close friend, a Brooklyn rapper by the name of T-Swole. Growing up in a household where the likes of timeless musicians like Prince, The Isley Brothers, James Brown, and Stevie Wonder were always on the radio, he could not help but to be influenced by that raw soul which he tries to channel into each of his instrumentals. I gained vast knowledge and experience there, as well as again developed many relationships.Brooklyn Native, Ryan Smith AKA Da'Vinci originally came from a background in chemical engineering, but always enjoyed the creativity that went into musical production. The engineering, technical, and operational staff at Sony was unmatched. ![]() My department gave support to the stage department for numerous live and recorded television broadcasts. Sony Studios had large live orchestral and cast album work. In addition the level of clientele was different. It wasn’t unusual for us to be averaging a million dollars or more per room in a given year. Being a corporately-owned facility also meant managing up: The reporting processes and accounting were at a whole different level than the “mom and pop”-owned that Unique Recording was. The facility was a union shop as well, which presented its own advantages and hurdles. We serviced many of our parent companies’ label needs, but also had quite a large percentage of outside work.īeing such a large facility offered more resources, but also meant more staff to manage. First it was a much larger operation with numerous departments such as mastering, restoration, video, audio post, and stages. Sony presented a whole set of new challenges and learning opportunities. ![]() Moving on to Sony Music Studios was just an incredible opportunity. How did those various experiences prepare you to be the studio manager for a world-class NYC tracking and mixing facility? Why is a studio the size of Platinum still essential to recording artists? What are the biggest obstacles for a startup studio? The single biggest evolution in music production that’s made life difficult for big studios? And why does diversity matter in the business plan for studios big and small? Find out forthwith. In this frank and informative interview with SonicScoop, Drootin shares the considerable wisdom he’s gleaned from 31 years in the game. Big Daddy’s shut down in 2015, and after an experimental recording and performance venture in Jersey City was nipped in the bud, Drootin got the call from Jerry Wonda. ![]() He simultaneously co-founded Area 51 Recording in 2010 while becoming director of Sean Combs’ Daddy’s House Recording Studios on 44 th Street. He’s taken on diverse roles from there, from managing the massive Sony Music Studios complex on 54 th Street, to the stillborn 17,500 sq. In his 3+ decades navigating New York City’s audio industry, Drootin has been a part of studios giant and small, starting as a receptionist then moving all the way up to manager at Unique Recording Studios. It’s not a path that most new NYC studios are taking, but Drootin can tell you exactly how and why a big facility like Platinum is staying in the game. Incidentally, Platinum Sound was founded in 2000 by Wyclef Jean and multi-platinum Grammy Award winning producer Jerry Wonda Duplessis.
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