Lollipop Recording: Metal's Sweetest Place to Record

Presentation is everything, and the newest sprouts in the heavy metal cabbage patch know that. Record labels tend to harvest bands who present themselves with quality recording, so bands gravitate towards studios that offer them literally the most bang for their buck. Lollipop Recording has enough bang to attract awesome new bands without blowing a hole in anyone's wallet.

Jay, the owner-engineer of Lollipop Recording, offers metal bands a quality working environment for birthing their records within a reasonable budget. "Don't mistake low cost for low quality," warns the company website, which is a disclaimer that Jay could practically boast as his company's motto, as the quality of Lollipop recordings aren't typical of budget releases. He primarily works with unsigned bands or small label acts who have to make a records while spending within their means. "I really work with the artist on what they are able to spend; I don't try to sell them any more than they can afford. An eleven track album (for example) would cost about $1900,"says Jay. Not only do artists get quality for less, they are also privileged to work within a friendly environment, as Lollipop Recording operates in close relationship to its clients. In the hours spent recording, the artist becomes more than just a client -- he becomes a friend.

The friendship aspect of his work probably spawned from the fact that Jay was once in the same position as his clients. Early in his career, he was a guitarist who learned his recording craft from cutting demos for his own bands. In 1988, he constructed four demos for four different groups he had played with -- and completed them in the privacy of a home studio. "It wasn't until 1999 that I got a chance to work in a pro studio. I was in female fronted industrial band that was on the rise. We were picked up by a large management firm and sent to a big studio to cut a real record. While working on the record the owner-and-head engineer and I became good friends. After many conversations about the process of record making, he granted me an internship. I ended up spending 5 years working with him at his studio, Vortex Sound, eventually becoming the second engineer," says Jay, who gained experience at Vortex Sound working with other engineers from larger labels, like Metal Blade, Warner Bros, Columbia, and CBS.

"The more you know about a person, the more you let his personality shine through on a recording," says Jay on the importance of bonding with his clients, and he uses this bond as a tool that allows each band to feel comfortable expressing their own ideas and going with their own judgment as far as what direction a recording should go. Jay keeps an "upbeat, positive, and fun" working environment from which artists feel comfortable and motivated enough to make the magic happen. The "magic" actually occurs once Jay finds that one pivotal point in a song or overall project that stands out as the most important aspect of the work and uses that section as the central part of the mix. He refers to aspects as the "hook": "Through conversations with the artist I can interpret what the finished mix will sound like before we even start. My usual approach to starting a mix is to find section in the song that I can emotionally invest in. The section that just hits me. Most of the time it's the hook. I will work on that part until it is sonically strong. The hook is usually the message; and, if the message is not bold and full of emotion, then what's the point?"

The greatest outcome from discovering the central nervous system inside the body of a clients work is the birth of a moniker of sound that happens each time Jay sits in the control room. Lollipop's clients walk away with a sound that's customized just for them. "I try not to use the same tricks and effects. Each band deserves their own stamp and identity. In the end, it really comes down to what the artists want, " says Jay.

Jay's concern conforms to what his clients want, though his studio trademark in the heavy metal industry are the "aggressive guitars, big drums, and spooky electronics [of]. . .dark rock and metal." Lollipop Recording primarily caters to new metal bands who most likely seek out Jay and company through word of mouth, and because each studio has their own unique approach to mixing, Jay doesn't view other studios as competition. "Every engineer has his own style," he says.

If an artist doesn't happen to wave their horns proudly, Jay doesn't discriminate -- he will work with any style of music that happens to interest him: "My clients go from the deepest, darkest metal to female folk singers -- if you have good communication, you can work with anyone," says Jay.

Communication is key to a good recording, and Jay does whatever it takes to keep his clients well informed of the project at hand, and he also advises all new musicians to practice intensively for a number of weeks before hitting the record switch. Practicing allows the band to utilize their time in the studio well and lessens the margin of error -- it keeps everyone prepared. "All of my clients know that I will help them anyway I can: setting up shows, answering equipment questions, and getting their recording rigs started.

I try to support the local music scene as much as possible--going to shows, buying CD's and merchandise," says the New Jersey resident, who also supports Internet radio as it facilitates new artists who would otherwise go unheard. He also purchases MP3s as long as the artist receives royalties, but is unimpressed with the quality of most MP3 recordings.

Lollipop Recording is equipped with a standard Pro-Tools setup that's loaded with software compatible features that aid Jay in giving each recording its own trademark sound. Jay also brings in outside instruments and houses them in the studio for bands to try out and inspire their creativity. But fancy equipment, quality instruments, and incredible playing only takes a recording so far -- attitude takes all of the hard work at Lollipop to the next level. "I feel the most important thing is to provide a positive environment. It's more about capturing the magic and passion of the artist. In the end there is no button or switch to flip that adds excitement to the record," says Jay.

Though the name of the game at Lollipop Recording is finding the best way to create high quality within a reasonable budget, like any business, it took money to make money. Inspiring engineers must also keep that motivation and spark, that "never give up" attitude. Jay explains, "Many people ask me how I made a million dollars in the recording industry and my answer is that I started with five million. Like any artistic field, you need the drive & passion first, then you figure out how to make it a business."

On a personal level, Jay enjoys life outside the recording studio. He participates in many recreational activities and hobbies, including food and art, though the time most precious to him is that spent with his wife. "She's the best thing that ever happened to me," he says.

Aside from his being a genuinely likeable, vivacious person, clients find that Jay share common dreams. Many artists say that they'd love to work with their idols on a project. When asked who he'd like to work with, Jay's answer was typical yet a little surprising. He didn't mention a particular artist he'd like to record with -- like his clients, he also has idols in his field, such as Rick Rubin, Ross Robinson, Alan Parsons, Brendon O' Brien, Bob Rock, Slipperman and Bob Katz. "They all have such a different style from one another but they are all masters of the craft," says Jay, who may have kept that musician dream of working with his idols because he is, in fact, a musician himself.

Lollipop Recording will soon be moving to a larger location that will include a wider selection of recording spots and all of the studio's audio services. Anyone interested in recording at Lollipop should contact Jay via Lollipop Recording's Official MySpace page at http://www.myspace.com/lollipoprecording