live screen prep

Greetings from Austin! We're happy you'll be joining us for a chat. Before we get on Zoom, here's a quick checklist:

  • You'll be recording a separate, clean version of your audio, which you'll upload after the call. Use whatever mic(s), preamp, and software you typically work with, or you can even just record a voice memo with your iPhone – the new ones sound surprisingly good.
  • Set up a second angle for a selfie video with your smartphone or DSLR, and get that rolling. 
  • We’ll move between performance and conversation over the course of the call, all of which I'll be recording via Zoom as a safety.
  • Afterwards, you’ll upload the video you’ve captured, along with any album art or other graphics we may discuss during the call.
  • Using the same link, upload any album art, photos, band logo, or any other graphics you'd like us to have.
  • In case we need the original Zoom audio as a safety, have a look at the brief video below, showing how to optimize audio preferences. While you're at it, be sure to enable HD video in your Zoom preferences!

Contact me directly with any questions: david@clubhouseaustin.com | 512.636.7416

See you soon,
David

Upload link:
https://artist.clubhouseaustin.com/guest-uploads

ZOOM AUDIO SETTINGS

I’m David Rice, a lifelong musician with a career that’s taken many shapes over the last few decades. In the pre-Internet, all-or-nothing 1990s, I made a few indie records before being given the opportunity to spend an unholy amount of Sony Music’s money on an indulgent solo album. There was no shortage of hurdy-gurdies, mini-orchestras, or personal chefs at Real World Studios, but the album – whose longest song clocks in at 11 minutes – mysteriously failed to connect with the masses.

Fortunately, I’d made some friends (and met my future-wife) at Columbia Records. They graciously steered me into some fruitful projects working behind-the-scenes, where I’ve been ever since. With my business+creative partner Matt Naylor, I’ve spent the last decade in Austin building Flow Studios, a multimedia company employing a dozen or so filmmakers and visual artists. I stay active in the studio composing music for our TV and video work, and recently jumped back into record production with an EP of covers from Nancy Wilson (Heart) and Eric Tessmer.

The Live Screen is quickly proving to be among the most exciting and rewarding projects I’ve ever cooked up, as nothing thrills me more than connecting with other artists to celebrate the things that make us all tick.