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Latest and Greatest!

Just a few selections from current and upcoming projects in the Gray Matters family!


M  A  T  T     L  O  V  E  L  L

it will be sure to attract a significant listener following and fan base
— SoundThread

"Nobody Cries Today" was featured on Nashville's Lightning 100 radio program. I am honored to have produced this single from Matt's forthcoming debut. Find it on iTunes and Spotify. Stay tuned for the album release and follow him on Facebook.

Debut single out now! Produced by Matt Odmark. Featuring Ruby Amanfu. Recorded at Sputnik Sound and Gray Matters in Nashville, TN. Video by Jimmy Fisco.

J  A  N  E  T     B  L  A  I  R

Janet is not only an accomplished orchestral oboist but an impressive songwriter. We worked together on her album "Songs For The Waiting" at Gray Matters Studio.

Official Track for Eternity Grows. Written and Performed by Janet Blair. Produced by Matthew Odmark at Gray Matters Studio, Nashville. Photograph by Dana Attebery Photography. Keys - Charlie Lowell Bass and cello - Matt Nelson Drums - Paul Eckberg Brass - Neil Brown Male Vocals - Kaleb Jones
Willing to take a chance on her music and her message, Odmark produced Songs for the Waiting
— JanetBlairMusic.com

It was a pleasure producing and co-writing on a project that so uniquely infused classical music with pop-influenced songwriting. Read more about Janet's story on her website and check out her single "Eternity Grows", available today!


D  I  A  M  O  N  D    C  A  R  T  E  R

LIGHTNING 100'S ARTIST OF THE WEEK!

Diamond Carter is a character that represents an idea. The name comes from a song off of Mark Levine’s 1968 album “Pilgrim’s Progress
— Tyler Tuohy

Exciting opportunities are opening up for Diamond Carter. We have been producing his album at Gray Matters. You can hear a sneak peak of his tune "Santa Cruz" at this link. Read Lightning 100's story on Diamond Carter and stay connected on his Facebook.


H  E  A  T  H  E  R     B  O  N  D

I had the great pleasure of working with Heather in producing/co-writing and arranging the vocals on her latest single "Cannon Fire". You can find it on iTunes and Spotify. Watch the video below to hear more of the story behind the music. Follow her Facebook and visit her website. Let her know how you like the single!

Cannon Fire is Fire. I like this girls chill vibe. Her songs combine genres- she’s easy to listen to.
— iTunes Review

I hope you enjoy listening to these talented artists as much as I do. Thank you again for your continued interest in the work of Original Masters at Gray Matters Studio.

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Check out my new band Kentucky Island

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Check out my new band Kentucky Island

You heard it here first. Early last year I formed/broke up with a new band all in 24 hours. I was selected/drafted to partake in the ignominious web series knows as 24 hour records in which 4 creative people whom have never collaborated or even met before are locked in over 24 hours to meet, make small talk, write and record songs. I have to say I had low expectations for the experience but found it to be just the creative launching pad I needed to start the year. It had been decades since I had had such unfettered and free fun in a recording space. This video is the first sneak peak of the mini-doc that we did. I was spoiled to be in the room with Drummer/Programmer/Arranger Mason Self, Songwriter and Producer Aaron Krause, and Bassist and humorist Corey Oxendine

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Ear and Eye Candy

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Ear and Eye Candy

I was honored to have the chance for both Brooke Waggoner and Derek Webb to produce excellent live videos in the Gray Matters Acoustic Space. I am continually amazed and energized by the musicality and talent that vibrates through this city. Enjoy this sampling of some of the content that has been produced in the ever morphing Gray Matters acoustic space. More to come in 2016!


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Should I "Master" my instrumental Mixes?

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Should I "Master" my instrumental Mixes?

I recently had a correspondence with a prominent artist manager who represents both Label and Independent artists asking this very question, which is one that I get from time to time, Here are some thoughts on this issue as well as where I fall out on this question having been both an artist/content creator, label owner and mastering engineer.

To Artist Manager-

I am getting this question a lot. More and more people are asking for this to be done... it is primarily because of synch and licensing. Many Licensing companies require having instrumental mixes readily available in order to secure synch licenses for film, tv and advertising. The thought goes like this. If a song gets synched and the vendor wants to use an edit between the final master and the instrumental of the song than in order for them to be able to make a seamless edit the sonic character of these two files will have to match as closely as possible. Thus the thought behind "mastering" the instrumental tracks. This is one way to go... the other way to go is to send the vendor "un-mastered" mix files of the song and to have them edit between the files that were supplied by the mix engineer. In many (if not all cases) this will be more than sufficient. My thinking goes, whomever does the post-production audio for film and or tv will likely set his or her own levels and may even apply some processing to the audio in order to achieve the desired results for the synch. As well the end format and resolution is higher for some video formats than for CD audio, so giving the Video post-production house tracks that are mastered for CD or (HORRORS) an mp3 could actually degrade the potential sonic presentation of your track. I should state however that not everyone shares my view on this and some would claim that the difference between the mixed file and mastered audio file is so significant that they would not feel that to deliver un "mastered" files would represent the full integrity of the finished work. So there you go. In my opinion if your record is being mixed by A level talent and they are supplying TV and INST mixes as High-Res Digital files I would use those for Film and TV synch and licensing and save your self a little dough and not bother mastering the instrumentals... If you are self-producing and self-mixing your project and find that your Mastering Engineer is doing deep rescue work to your mixes you may prefer to have him Master the Instrumentals to ensure continuity among potential formats.  Mastering dollars in my opinion are best spent on preparing final mixed records for duplication and distribution for CD, LP and the internet. 

 

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