This page includes samples of music that Loren Weisman has produced for FSRP clients.

These samples only include artists that have worked to create their album under the FSRP guidelines, budgets and business plan.

These samples do not include any recordings that were completed at higher level budgets or higher level record companies that Loren has produced

All of these recordings were completed with in the timelines and budgets that all averaged 80% less than the industry standard prices in Los Angeles, New York City and Nashville.

All the musicians heard on these recordings have full rights to all their songs with no production points or percentages going to Loren Weisman or any third parties.

These songs were all produced by Loren Weisman with Scott Ross engineering the sessions at Elliott Bay Recording Company in Seattle, Wa.

Additional samples of other recordings, additional samples of full songs and other albums are available on request.

The examples listed include explanations behind the approach and production concepts used on the tracks.

For this first song, I worked with the artist to move the tempo up some to create a strong pace and flow. I brought in percussion to give a looping layer and feel as well as some additional beds of backing vocals to warm up the tone.

 

This tune had a poppy bouncy concept to it. I worked with the artist to reach the Motown pop feel and then embellished it with horns, backing vocals and more pulsing instruments. Of course also adding the tambourine and the horns to give it that light Motown Pop touch.

This is another sample of the previous tune. I prefer for artists to have a series of different mixes for each song to build the best chances for opportunities for a given track.

The first sample is the full song as it appears on the record.

The second sample is the song with no lead vocals but the backing vocals still remain. This allows for the artist to sing karaoke to the track or to potentially license the performance to another artist to sing over.

The third sample is the no vocal sample. Like the second sample, it can be used for other artists and also for other languages. The no vocal version may also be used for licensing in to commercials, TV and movies.

This song had a very sparse foundation to it. I did not want to interrupt the space too much, but it needed to be filled out to move the song along more than it was originally.

Applying a series of soft guitars and some light supplemental vocal pads, the song took a path toward a better forward motion while still staying haunting and open.

Endings, solos and transitions are often ignored and given less consideration. At the end of the song in sample 3, instead of just a long repetitive strum, I worked with the artist to create an ending that would hold the interest of the listener.

This song was poorly mixed and the vocals were very compressed. A great deal of the samples and the sounds were conflicting with each other. The tune was very rigid and not showcasing the vocalists ability or the song.

 

We worked together to add more authentic instruments and capture the singer’s great voice. We also added different layering ideas, but brought them in slowly and made sure to complement the form of the song.

This song had an amazing foundation but was lost in my opinion by the loud clap samples and the redundant layering that made it sound like many other songs that did not stand out.

The artist and I worked to create a more distinctive and rounder sound for the track. We added beds of backing vocals and set up the main instruments to swing while the percussion gave a little of a bounce and pulse to a jazzier approach to this song.

The song started as a very cliché mix of poorly placed samples that were not complementing each other. The mix was very distant and not pulling the song in the direction of where I felt it could go.

The artist and I mixed real instruments with the samples and loops that were placed in a more supplemental fashion to really drive the song and along the tune to both have room but have many layers to it.

This song was very slow and had limited motion in the progression. The guitar had a very simple line that did not help the flow either.

Taking the layering approach by mixing a series of guitar lines to create a bed to move the song while support the vocals and still staying simple and sparse gave the tune a better flow and motion.

The third sample is a guitar solo from the tune. Again, it is very important to compliment and supplement songs with solos and embellishments that belong and help the song as a whole, not take it over.

Again, this tune had a very redundant and slow feel to it. The words were pretty and the story was interesting. Still it was being lost inside the execution.

I worked with the artist and proposed a jazzier approach mixing a sense of blues and even the addition of an accordion to what we began to visualize as a French coffee shop bluesy vibe.

This song had the boom-chick-chick-boom-chick-chick strumming pattern that took away from the writing and the song it self.

The final version showcases the accordion as a long standing pad with more of a half time feel to give length and form to the song. Light nuances and simple additional overdubs created texture with out overwhelming the ear.

The third sample showcases the end of the song after the vocals and the embellishing of a harmonica and some additional guitar layers to create a fading away ending that is still interesting with out pressuring the ear.

These are four final samples from a Pop/Reggae album. The idea was to tastefully layer while not adding too much. We also spent a good deal of time avoiding the overused and all too common reggae by creating interesting percussion lines, tasty backing vocals and paying strong attention to transitions, beginnings and endings.

The last sample was a very sparse and open track where we recorded the track live with only a couple microphones and together. It was very raw and real.

These are five samples from a hard rock and metal album. The group worked hard to create stronger transitions as well as giving the songs a fuller and richer sound. We layered many guitars and vocals to build the sound they were looking for. Overdubs and supplemental tracks helped to bring a distinct touch to the music also.

These are three samples from a jazz/fusion album. The first sample is a segment from the song that was on the album. The second sample is a loop that has no saxophone in it. Then the last sample is the sample loop with the sax back in. Finding and mixing down loops and samples for certain songs can allow for those loops to be used and purchased by other artists.

These two samples include a loop and a sax solo from another song. It is so important to not only have the good microphones but also the good rooms to fully capture the sounds of horns, strings, drums, whatever for your recording.

This is a before and after sample of a Pop rock tune. Taking the basic form and concentrating on the mix and the tones over any additional overdubs.

The final sample shows a fuller mix that has a broader range of tone and quality. Playing a little with the vocals and some light effects to warm up the overall mix were applied as well.