Interview with Recording Studio Owner and Blood Feast Guitarist CJ Scioscia

May 21, 2020

Interview with Recording Studio Owner and Blood Feast Guitarist CJ Scioscia

By Mick Michaels

COSMICK VIEW: Hello, CJ! Welcome to The Cosmick View. Thank you for taking some time out of your day to chat with me, it's greatly appreciated.

CV: Analog or digital - which do you prefer as recording studio owner?
CJ: I like a combination of both, but lean more towards digital. The things that can be done in ProTools [the DAW I use] continually blow my mind. I remember when I made the switch from tape to PT back in late 2005, I thought I'd need 6-8 months to switch over. After 3 weeks I was all-in.

That said, there really is something about analogue gear. I re-installed my analogue mixing board last Summer, and I'm super-happy with the results. In this COVID-19 downtime I managed to do some re-wiring, and can once again patch in outboard effects. I've got 2 TC Electronic processors that I like a lot, but now I just need to get my hands on an Eventide. An old H3000D/SE or a DSP4000 would be ideal.

CV: Does the advantage of using a DAW create more freedom with regards to environment when recording or is there no real substitution for the design of a quality, controlled recording space?
CJ: Great things can be done in the bedroom or basement, but nothing beats a good-sounding room in my opinion.

CV: There is a sentiment today among sound engineers and producers alike that because of the digital format, many artists rely too heavily on the new medium to “do the playing” for them, whereas replication is done with a key stroke or a mouse click and musicians aren’t required to actually know their parts. What do you think…is there any truth in this?
CJ: It definitely happens. I've had to fix things… LOTS of things. Sometimes I just do it because it's quicker, but I'd rather not rely on that. It certainly helps to have that ability in one's arsenal, but having a musician play their part is always what I'd prefer.

CV: You recently worked with Ross “the Boss” Friedman on his latest album “Born of Fire.” Tells us a little about what it was like having Ross the Boss in and working with him at your facility Le Chateau Bow Bow Recording in New Jersey to capture what he was looking for with this album.
CJ: It was quite an honor to engineer the bulk of his album. Luckily I know Ross pretty well, as I worked for The Dictators for nearly 8 years, and I had recorded him with J.P. "Thunderbolt" Patterson on the Thunderboss album.

Ross had a very tight schedule for the Born Of Fire sessions. Initially I worked with Mike LePond [bass guitarist of the RTB Band, and Symphony X] to craft the pre-production demos. After those were done, we scheduled the drum tracking sessions. Drummer Steve Bolognese flew in from Los Angeles and had 3 days to track 13 songs…one song went unused for the album. These were done to the pre-production demos. Once those were finished it was Ross's turn, tracking all the rhythm guitars. Ross brought his Engl Powerball amp, and we also used my EVH 5150 III 50W head. Both were sent to a Marshall 4x12 cab. One cab was mic'd with a Sennheiser MD-421, and the other with Sennheiser E-609. We then added in his DigiDesign Eleven rack, and even took a clean DI track in case the mix engineer decided to re-amp things. So each rhythm guitar had 4 tracks. Thankfully we only cut 2 rhythms for each song, but it still got confusing at times. As Ross finished up a few songs, Mike would cut his bass tracks. The rhythms and bass took about 6-7 days.

As we were moving along, I'd be sending vocalist Marc Lopes rough mixes. He'd then finalize his lyrics and start tracking is vocals. There were files flying all over the place.

I wound up tracking all of Ross's leads over in Middle Village, NY, at his business. We did those direct via the Eleven rack, and they sounded great. I spent 6 days there doing that.

The band had a tour of New Zealand and Australia slated for early November, so we worked really hard and we weren't finished. Now I was getting vocal files while Marc was halfway around the world!! Then I ran out of time, and wound up finishing all the importing and file management in Hamburg, Germany while I was there to play a festival with Blood Feast. It was mental, but I got it all done. I wasn't gonna let Ross down.

CV: In additional to being a cutting edge recording production tech, you are also an accomplished guitar player and a member of long time New Jersey Thrash legends, Blood Feast. Does being a musician give you a unique perspective when it comes to working with other artists in the studio? Are you able to quickly hone in to what it is they are looking for?
CJ: Accomplished guitarist?!? You're too kind, Mick. I do my best to keep up with the thrash master himself, Adam Tranquilli.

I believe being a musician helps, fer sure. I have a good knowledge of many instruments, as well as a firm grasp of music theory. If I hear a bass line, I'll put in my 2 cents…same with a vocal line or harmony. For instance, sometimes a vocalist is trying to jam in too many words. I have a look and offer a suggestion.

I've found that if I don't like a 'take' I need to explain why. Don't just reject it out-of-hand. What's the reason why I want the client to re-do whatever they just did? Is it an inflection…a tuning or pitch issue?? I work with the client and don't wish to demean them. I want what's best just like they do.

CV: You and the Blood Feast boys are working on a new album. How is that going amidst the current COVID-19 crisis?
CJ: Unfortunately, work has ground to a halt. It's very frustrating, but it is allowing us to have a second look at some things. The drums and rhythm guitars are done, but those guitars are about to be re-visited. “Can we do more with the guitar sound” is the thought. Adam and I like what we have, but can we do better??

CV: What has the current COVID-19 situation meant for studio production and future projects?
CJ: Unfortunately, it's been kinda devastating. I've had to get a 'real' job to make ends meet, as there's no money coming in from LCBW. I still have to pay the rent, of course. Even though we're still in stay-at-home mode here in NJ, things do seem to be loosening up a bit. I just had an e-mail exchange with a potential client today, in fact…so I hope to start having some clients again soon.

CV: Today everyone is wearing multiple hats when it comes to getting the job done. There is often a debate about what is really considered a “recording engineer” as the digital world has given rise to many home and small project recording studios in recent years. What do you think…is an engineer someone who just sits behind a board or screen and presses buttons and slides faders, or is an engineer someone who actually applies scientific principles to capture and process sound using a combination of tried and true tactics and modern methods?

CJ: I'm definitely not someone who just sits in front of the computer and let's it just happen. I know what works for me with regards to mic-ing techniques, but I'm always looking to learn. I consider myself an engineer and a producer in one, much like Martin Birch of Deep Purple and Iron Maiden fame. Then add that I'm a bit of a musician, writer and arranger…so, yeah, I've got hats galore.

CV: There also seems to be much discussion between the difference of being an engineer and being a producer? Paul Stanley of KISS briefly commented about this topic in his autobiography that there is a big difference. How do you see them…are they one in the same or is it like comparing apples to oranges?
CJ: I've always done both, so I know no other way.

CV: What album, from a production stand point, do you consider to be sonically timeless?
CJ: I have waaaay too many, so here are 10 that I consider essential:

Deep Purple • Who Do We Think We Are – produced by Martin Birch (1973)

Queen • Sheer Heart Attack – produced by Roy Thomas Baker (1974)

Led Zeppelin • Physical Graffiti – produced by Jimmy Page (1975)

Pink Floyd • Wish You Were Here – produced by Pink Floyd(1975)

Cheap Trick • Cheap Trick [debut album] – produced by Jack Douglas (1977)

Iron Maiden • Piece Of Mind – produced by Martin Birch (1983)

Cancer • The Sins Of Mankind – produced by Simon Efemey (1993)

Local H • Pack Up The Cats – produced by Roy Thomas Baker (1998)

Napalm Death – Smear Campaign – produced by Russ Russell (2006)Carcass • Surgical Steel - produced by Colin Richardson (2013)

CV: What’s next for you?
CJ: Gotta finish up the new Blood Feast album…can't wait to get back to that one. And I've already started writing for the next one…can't waste any time.

I'm gonna take another crack at recording my 2nd solo album. It's long overdue. My first one, entitled Surface Tension, came out nearly 10 years ago. I had started work, but was never happy with the drums. I'm gonna re-start from scratch with Michael Sabatini of Attacker on drums. This one will be heavier than the first, but not Blood Feast heavy.

There is also the debut album from my '80s thrash band Insaniac. The mix has been done for a couple of years, but there's been no urgency to release it. Now that there are pending reunion shows…although pushed back at least a year due to the COVID-19 situation…we have a time frame to release it.

CV: Thank you again CJ for spending some time talking and sharing with
our readers. I wish you all the best and continued success.
CJ: Thank you Mick for asking, I appreciate it very much!!

Check out CJ at:

Le Chateau Bow Wow Recording Official: www.LCBW.com

Email: lcbwrec@gmail.com

Tel: 973-699-1922

Blood Feast: www.BloodFeastLegions.com

Insaniac: www.Insaniac.com

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My name is Mick Michaels...I'm an artist, music fan, songwriter, producer, dreamer and guitarist for the traditional Heavy Metal band Corners of Sanctuary. Writing has always been a creative outlet for me; what I couldn't say in speech, I was able to do with the written word. Writing has given me a voice and a way for me to create on a multitude of platforms including music and song, articles, independent screenplays, books and now, artist interviews. The Cosmick View is an opportunity to raise the bar and showcase artists in a positive and inspirational light. For me, it's another out-of-this-world adventure.