Mr Bill Music Production

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Nina Zahra

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Aug 5, 2024, 2:10:12 PM8/5/24

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MrBill is exactly the kind of "no BS uber-tech-savvy genius" you want teaching you the heavy hitter production stuff. I'm a huge proponent of looking at the RESULTS of whoever you're learning from and only investing your precious time with people who are where you want to be, and making tunes you respect. His music speaks for itself...brilliant. It's rare to find someone who walks the talk and is also willing to teach all they know without reservation. Bill is one of those rare few. Mad respect and big ups brother! I have personally learned a lot from you and I know thousands of others have done the same. Keep doing what you do! Much love.

"Pro Control is a magnificent beast, but for people who've been using Pro Tools from day one, it does require a bit of a learning curve to unlearn what yolearned before. It's not as intuitive to edit on as editing with a mouse and keyboard, but for mixing purposes, it's absolutely magnificent."

"Let's also bear in mind here that it's not as simple as having a great record any more. You know, if you were Jim Smith from Huddersfield, and you'd written and produced a track that sounded exactly like the Backstreet Boys, without the machine behind you that is behind the Backstreet Boys, you are going nowhere. Those records don't survive because they're great records: they survive because they're great records with a great machine behind them."

The main equipment racks at Wise Buddah's music studio. From top, left to right: Mackie HR824 monitors, Marantz CD recorder, Tascam DA20 DAT recorder; (in racks) Drawmer compressor, Aphex Type C Aural Exciter, Rockman sustainer/delay, Alesis Quadraverb, Emagic Unitor 8 MIDI interface, Roland JV1080 sound module, Emu Planet Phatt, Orbit, and Audity 2000 sound modules, Mackie CR1604 mixer, Oberheim Matrix 6R synth, Akai ME30P MIDI patchbay, Yamaha TX812 sound module, Emu Ultra Proteus and Proteus 1 sound modules; (on desk) Waldorf Microwave XT synth, Yamaha O2R digital mixer and Digitech Talker.

"So dance records are a tricky one. It's much easier to talk about songs, and what people do wrong with songs. When something comes in to me, it tends to be that someone's made a record that is five minutes long, and they want that to get on the air. They'll take that to a radio station, and the station will say 'Well, it needs an edit.' And the reason they say that is because it dribbles on in various parts of it.

"What I never do is lose words. If someone's taken the time and care and effort to put together a song which is properly structured, but the only point they've missed is that it's got to be condensed a bit, I'll really try to stay away from losing words."

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The federal tax code already allows film, television and theater productions to fully deduct production expenses in the year they are incurred, but not music production expenses. Implementing this change would help these entertainment professionals recover from the economic downturn brought on by the COVID-19 pandemic.

"Like families and workers across the country, music producers and creators in each of our communities have been hit hard by this pandemic. In fact, they were among the first out of work as tours and festivals were canceled, venues shuttered, and studio sessions were postponed," said Congresswoman Linda Snchez (D-CA). "Today, I'm proud to re-introduce the HITS Act. This bill will make things just a little easier for the small, independent creators that make the music we often turn to during hard times like this."

"The pandemic has made it harder for many people to make ends meet, including musicians and music producers who have been among the hardest hit because of bans on large gatherings," said Senator Dianne Feinstein (D-CA). "Our bill would allow independent musicians, technicians and producers to deduct their production expenses in the same year they occur, rather than forcing them to spread those deductions out over several years. This change would help keep music creators afloat until we can again gather and listen to them in person."

"The music from Nashville strikes a chord with folks across the nation," said Senator Marsha Blackburn (R-TN). "However, the unique burdens faced by the arts community forced many to stop writing, performing, and producing altogether. The HITS Act will provide targeted tax deductions to support our musicians and allow them to get back to work."

According to the Copyright Alliance survey last year, 88 percent of creators had lost income due to the coronavirus pandemic, which was more than double the national average for other industries. Approximately half of the respondents had lost 90 percent or more of their income.

The HITS Act is supported by the Recording Academy, American Association of Independent Music, SAG-AFTRA, Music Artists Coalition, Artists Rights Alliance, Recording Industry Association of America, National Music Publishers Association, SoundExchange, Global Music Rights, SESAC, National Independent Venue Association, National Independent Talent Organization, Future of Music Coalition, Digital Media Association, Nashville Songwriters Association International, ASCAP, BMI, Gospel Music Association, Christian Music Trade Association and Songwriters of North America.

"As we begin to see the light at the end of the tunnel of the pandemic, independent music creators are still struggling with the devastating financial impact it has wrought" said Richard James Burgess, President and CEO of A2IM (American Association of Independent Music), a trade association with more than 650 members in more than 30 states. "While we all move forward into what we hope will be a brighter summer and fall, the HITS Act would provide much-needed tax savings for recording artists and their label partners to reinvest in new projects. This has the dual benefit of incentivizing job creating activity in our industry and helping artists make ends meet. We are grateful to the Members of Congress who have worked so hard on this bill."

My name is Bill Day. I produce music under the name Mr. Bill & Electrocado (w/ Ryanosaurus). I create educational content on YouTube & mrbillstunes.com that revolves around electronic music production, and travel the world playing electronic music to people in clubs, live venues & festivals as well as doing masterclasses at schools.

I use a Razer DeathAdder mouse & a Goliathus mousepad whilst travelling & whatever MSI mouse my laptop came with & a SteelSeries mousepad in the studio. My studio is full of GIK Acoustics panels. I use a DJM-900NXS or 2 live & just USB straight into that bad boy, then set 4 audio-tracks in live to send straight to that. I use 2 x CDJ-2000's & a DJM-750 in my studio for practice (mainly cos they were cheaper). I have an Argosy Halo desk in my studio & some 43 inch Acer monitor (if that counts?).

Guitar-wise I use a Schecter Demon-7 & an Axe-FX II, as well as some Guild acoustic guitar. If I'm running DSP in my studio I'll use a miniDSP 2x4 + a Metric Halo ULN-2 (for the D/A conversion) - however, at the time of writing this I'm not. I also use a modular Eurorack system in the studio. I have an Absinthe Green Pearl Masters in my studio which I use sometimes for recording breaks (usually with a single overhead SM57). I mostly use SM57's for everything)

Dream setup would likely just be a fairly flat room with really nice speakers that's comfortable to sit & work at and doesn't feel too sterile (like some studios can) with a really fast computer that is nicely file managed and has lots of nice software on it. I actually don't really like the classic sterile studio vibe - I prefer working in bedrooms in houses for some reason, so it'd have to be some hybrid between a bedroom and studio vibe.

Unlike many music producers, Szymczyk has no background as a musician. He was originally a sonar operator for the U.S. Navy and took some audio production classes as part of his Navy training. Besides his work with the Eagles, he has produced hit songs and albums for such diverse artists as B.B. King, the Who, Joe Walsh, the James Gang, and Elvin Bishop.

Bill Szymczyk was born in Muskegon, Michigan on February 13, 1943.[1] His mother worked as a nurse, and his father held several jobs, including factory worker and maintenance at a school.[2] Growing up, his first introduction to music and electronics was when he built his own crystal radio from a kit. Using his radio, he became a fan of blues and R&B while listening to a station out of Nashville, Tennessee.[3]

He joined the United States Navy in 1960, where he worked as a sonar technician. While the Navy he took his first course in radio and television production. Upon leaving in 1964, and without much of an idea of what to do for a post-military career, he enrolled at New York University's Media Arts School.[3]

Szymczyk began working at a firm which produced demo recordings for Screen Gems Records and worked extensively with Brill Building songwriters such as Carole King and Gerry Goffin. He also worked as an assistant to music producers and songwriters Quincy Jones and Jerry Ragovoy, eventually working his way up to chief engineer at Ragavoy's Hit Factory recording studio in New York City.[4] His first work as the primary producer on an album came for a Harvey Brooks solo record.[5] He dropped out of NYU to work full-time in the music industry.[3]