by Johnny Martin
Jeremy Wilson has a level of enthusiasm that matches his level of success. The driving creative force behind Pilot and The Dharma Bums, he settles into his creative recording space in a loft on the eastside of the Willamette, producing and engineering musician’s CD projects and the now famous Mastan Music Hour Podcast.
Hi Jeremy, tell me the name of your studio and how you arrived at that.
The name of the studio is Mastan Music. It’s been my publishing name for over 20 years. Ever since I was in the Dharma Bums. It’s a Hindi word.
Are you still into Eastern Philosophy now?
It’s hard not to be. I was brought up in it. I’m a true believer in the spirit of people and the Universal Energy.
How long have you been making your services available here?
One year ago in August 2006. This board got wired in and I felt like I was officially where I wanted to be.
And you got the funds yourself ?
Yeah. There’s no other investors. It’s really an independent artist owned and operated recording studio/artist space that offers high-end services for commercial work and bands.
So, did you have a goal when you were building it, and do you have that same outlook now that you’re rolling?
I made this place to please myself. I’ve worked from basements to all the major studios in Seattle. I wanted to create a space where I could make industry-standard recordings and put out my own work. My goal was to make a place where I felt comfortable to write and create.
You’re happy with guys just making basic tracks and finishing elsewhere?
Oh yeah, totally. I have absolutely no competitive edge whatsoever with any of the other studios in town, they’re all friends. Guys like Tim Ellis have been loaning me gear for years and helping me out at times.
So then you do that same thing down the line?
Yeah, I’ve got interns working in film and I’ll let cameras go out the door to help etc.
Do you have some time for experimentation here?
We’re always experimenting here. Especially when you’re signed on as a producer, I’d be remiss to not experiment.
But when you’re producing, you’re also engineering?
Yeah I’m doing both.
So are you looking at the client and the clock? It’s a tough balance isn’t it?
Well, I might have my co-producer Sam Densmore with me and the two of us work so friggin’ fast, that it’s ten times more efficient and there’s no sense of wasting time. I don’t start experimenting until the drums and bass are perfect anyway.
How did you meet Joe Chicarreli? Did you intern?
No man, he made a record for me! I was on Elektra records. I really like producing because I like collaborating. I love the teamwork. I’m trying to run this place like you would run a classic studio.
What do you like to monitor on?
These Mackie HR824’s. I like them a lot a lot a lot. I’d do a commercial for them. I’m finally breaking down and I’m going to bring in some NS10’s again. I really got worn out on them in the 90’s, but I do think I could use them to do reference and stuff.
What levels do you listen at?
I try to work as quietly as I can.
