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Artist Spotlight : GGH Exclusive Interview with Chuck Schiele DIY Entrepreneur - Renaissance Man
Posted by Gary on 2009/10/2 18:00:00 -- News by the same author

GuitarGearHeads.com Exclusive Interview

Chuck Schiele DIY Entrepreneur - Renaissance Man

By: John Seetoo


2006 and 2007 San Diego Music Award Winner (for his roots music group, The Grams), Chuck Schiele wears many different hats. He is a singer/songwriter as well as collaborator and bandleader for a number of musical ensembles, that have toured across the USA. Additionally, Chuck is a record producer and owner/chief engineer of StudiOB92107.com in San Diego. Hailed as the “Music Mayor of Ocean Beach”, Chuck is also in charge of organizing and staging music programs for many community events, and is active in booking bands for numerous clubs within the San Diego music scene. Using music as a vehicle, he is also heavily involved with community activism, raising, food, money, goods for a variety of beneficiaries ranging from leukemia research, education, homeless, children, etc. Finally, Chuck is an advertising/marketing designer for private and corporate clients and has recently branched out into producing music videos. He's a true example of the DIY entrepreneur – Renaissance Man.

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John: You have a solo career as well as a new trio collaboration, yet you are maintaining your rock ensemble as bandleader for Bad Science Fiction and have survived the tragic auto accident death of lead guitarist Craig Yerkes to continue gigging with The Grams. Where do you find the time, and how do you juggle them all?

Chuck: I stay organized. I stay dedicated, strive for no excuses nor apologies in my work. I just wake up and go. I believe in doing at least one thing a day toward my dream or goal. Pretty soon, I'm buried in the right pile of stuff to do.

John: What are your main acoustic and electric gig set ups?

Chuck:
Acoustic:
I like my Takamine Santa Fe a lot. I consider it a friend. One of "those" guitars... i keep things simple. If the ax is good I let it be what it wants to be. This guitar is a jumbo with impressive projection across the spectrum. It wants to be played percussively much of the time. Since I'm a sort of 'wanna-be' drummer, this works out. I also love the neck which is seemingly made for my left hand, personally. Therefore this is a great guitar for my fingerstyle, alternate tuning stuff. The guitar also likes to be articulate.

Lately, on louder thicker sounding shows I've been incorporating my Line 6 Variax, which is actually an electric computerized guitar that simulates an excellent acoustic guitar sound. It features a compressor which i like very much, because i can fit myself into the mix without starting a volume war..... just nestle myself "in." It also - being a computer and all - has the ability to switch to a predefined alternate tuning at the click of a button. (The strings don't move and stay in standard tuning, while the signal going to the cable is respecting the tuning assignment; and then sends that to the house.) I write in DADGAD, and G tunings, among others frequently, so this is also very, very handy.

Electric:
Early 70's Les Paul prototype hybrid, never issued to market, kinda like a Junior and kinda like a Special, yet neither. I got it from a buddy named Gastaldo. I call the guitar "The Gastaldo" by now. It's a mean little brat, super warm, old school sounding. I cram it through an AC30 Vox.
I also like my Rickenbacker 610 which I actually "do things to" for irreverent studio applications.... such as my "glass" guitar technique.


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John: In the time honored tradition dating back to Link Wray, you have converted your garage into an impressive recording studio, StudiOB92107.com. A number of the artists that have recorded there have gone on to garner awards for their CD's. How did you start the studio, and what kind of gear are you currently using?


Chuck: I started with a good Mac G5, refurbished, a Firepod, a coupla compressors, three sets of headphones, and a few decent mics. This happened when a colleague's band asked me to produce their record. I had produced a number of my own, but not too much for others. The thing that is most natural for me to do in life is to create a picture, or song... same thing. I get hired for my creativity, really... ability to organize and arrange music into presentable terms. We got busy right out of the gate, too. By now we have a very nice selection of all sorts of mics, Avalon channel-strips, etc., I have the bug and in the black hole of improvements. We've also had a nice array of styles and projects roll through by now, as well.

For more info on studiob92107.com, please see http://studiob92107.com/recordprod.html



John: Since starting StudiOB92107.com, are there any particular sounds or tracks that have unusual stories behind their genesis?

Chuck: I'm a big fan of trying stuff that is considered wrong. I am an anarchist this way. .. skeptical of rules and rulemakers.... basically rules are for those who don't know what to do. It involves a lot of trial and error - and a lot of stuff doesn't work - the world will never hear it. But every so often something gets through, falling under the category of "Cool-as-shit," and then we have a gem. I also get another secret trick in my sonic toolbox from the experience. Its good to do also from the perspective in keeping the faith that what isn't working now could still work on something else down the line. I stuck one of those mini-plastic practice amps into a small tin flour box and stuffed a condenser mic right in there with it. After trying classic solution after classic solution, this application was the one that started telling its own story.

John: How do you cut live band tracks in a relatively small space? Is isolation a problem?

Chuck: I have some space. If you understand mic placement, and instrument positioning you can defeat most of the bleed through from track to track. Baffles, etc. I throw up some extra mics while we're at it to track things from a different perspective in case we need the option at mix time. I'm usually going to scratch the vocalist and isolate them on a dub so we can make sure the action is right while we're at it.

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John: As you wear many hats, do you find yourself ever conflicted between production, engineering and musicianship decisions that have to be made for both your own work or when working with clients? For example, do you ever bring in another engineer so you can concentrate on playing or singing your own music, or do you always have the technical or other issues in the back of your mind?

Chuck: I never feel conflicted this way. In fact, I feel the opposite. Understanding the knobs more and more allows for immediate creative approach - especially if its my turn to do the singing. It's the same thing as a pencil. I can pick up a pencil, right now, and draw you. Its connect to my brain immediately this way. I want that, and am fast approaching that same innate facility with console knobs, etc. I might bring in an engineer from time to time for expertise situations. I like doing things "my way" but i also recognize where others are specialized. If its good for the art result, and everybody involved, I have no problem bringing in other experts.

John: You've recently started doing music videos and launched a webcast performance. Can you tell me how those came about?

Chuck: The following observations...
• Record store is gone.
• The whole industry is up for grabs.
• What a concert venue can be just changed with the advent of live streaming and YouTube culture.
• Everybody is online. I'm equally interested in finding all the people in the world - or connected online - that might be interested in our music than I am in spending the same energy into getting the local peeps into a show down the street, especially in these times. I'm here to save you some gas money and come to you in the comfort of your own home.

Cool little renaissance happening here. Video culture is part of it. I love the chaos its in. I love change. So I went for it. We plan to make online streaming concerts a regular thing. I don't know about anyone else, but our first was very successful.

The video happened when I accidentally discovered that my laptop was also a video camera which connected to the stock installed i-movie. I just wanted to learn how to make a movie. The band needed a video and i just made myself a project out of those two concerns. I have a blast making them, so again its a case where making pictures is simply my natural thing to do.


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John: You've been involved in the music business long enough to see the tremendously rapid changes that have occurred with onset of digital technology. Can you talk about how you were doing music, say back in the 80's and what transitions you've had to make to stay active when a number of your past contemporaries have failed or diminished?

Chuck: Really, if you wanna survive the rat race you just have to accept the fact that you're going to have to learn new stuff constantly. You have to be ready to embrace change, and as usual you have to be thick-skinned when failure shows up. They don't call it rock and roll for nuthin. In the 80's it was analog: tape, sending cassettes, fed ex, licking stamps, and more driving. Now its digital: I do everything from home now. The computer completely revised how music itself works and also as an industry; while also overhauling everything I do artistically. Steve Morse said there are "no excuses in music." Anyone who failed had more faith in the excuses than they did in their music. You either love it enough to go out there and 'live" it rain-or-shine, richer-or-for-poorer" - or you don't.

It is also important to decide what music success means to you. For some, it's all about getting signed, and limos and jets. For others its to simply play better. Or to get some gigs now and then. Or to hear one's own creation recorded. In the end its a case where you have to decide what your freedom means to you.


John: You have been a DIY exponent for years. What advice would you give to someone starting out in the current musical climate?

Chuck:
• You have to really want this. You do get beat up along the way.

• You have to really be disciplined to self start, even when you don't feel like it. Period.

• In the "music business" you have to remember that the emphasis is one the word "business."

• Learn more about music everyday. Learn to read and write it. Keep learning new trends in music and in music business.

• Be nice and genuine. People who approach me this way, I remember first . Especially when I can help them.

• Get involved with your scene. If everyone contributed energy into making the scene better, we'd all find ourselves in a better scene.

• Most importantly, find yourself. Really find your self and stick-up for what is unique about yourself. Mine it. Every music hero in our collections did this. Until you do this, you will not discover your own sound.



John: You're kind of all over the place stylistically. If you were to name some quintessential tracks that exemplify Chuck Schiele as a musical artist, which ones would you name?

Chuck: The link that contains my recordings, of which I feel are emblematic of my craft, are as follows:
http://myspace.com/StudiOB92107cs
I'll update it soon, prior to your publishing date. Please advise that date so I can schedule it.

Emblematic of myself as an artist (my material)
"Perfume" / Love Factory / The Grams
"Daymaker" / Chuck Schiele & the Mysterious Ways
"Rise Up" / Therefore / Bad Science Fiction
"Sixteen Seconds" / The Grams / The Grams
"Goin' Down" Love Factory / The Grams
"Dorothy" / Chuck Schiele & the Mysterious Ways

Emblematic of my role as producer:
"Introduce Myself to You" Coco & Lafe, from album Cafe Loco 2008.
"Gonna Find Me" John Miller & the Payback
"Junkie Love" Podunk Nowhere
"Kung Fu Soul Brother" Bass Clef Experiment

Thanks, John.

CHUCK SCHIELE


http://CharlesSchieleCreative.com
http://StudiOB92107.com
http://Facebook.com/ChuckSchiele
Twitter @ Chuck Schiele

TheGrams.net
BadScienceFiction.net

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