The Mouse House – First Take PR

April 13, 2017September 28, 2023

“Real” Jazz and the Inspiration Behind “Kaylene Peoples – Standards & Stories from the Great American Songbook”

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By Sean McKenzie | The Indie Hotspot | April 11, 2017

“I wanted to let people know more about some of these well-known songs, many of which have evolved into jazz standards. Every song has a backstory. I also thought it would be a good way to introduce real jazz to a young audience, too. I really think that was accomplished with this recent private concert,” states Kaylene Peoples

kaylene-peoples-stories-and-standards-the-great-american-songbook — Kaylene Peoples performs at “Kaylene Peoples – Standards & Stories from the Great American Songbook,” April 2, 2017 (Photo: Robert Fisher)

Kaylene Peoples does a lot of things. She has been called a renaissance woman more than once in the press and her musical disciplines are varied. These disciplines range from jazz, classical, and even pop. Since her release of her first jazz album All Jazzed Up!, Kaylene has embraced “real” jazz with a bear hug. Kaylene released her second jazz masterpiece titled My Man, and with that she invited legends Hubert Laws, Bunny Brunel, and Bobby Lyle to guest perform, seeming to further make her point . . . “It’s all about the ‘real’ jazz.” Between these two albums, the performances and new arrangements of songs from the Great American Songbook have been the theme with the exception of “Run Away with Me,” “My only Crime,” and the song that charted independently back in 2005 “Do You Remember?” . . . her three originals that could easily be mistaken for standards off of All Jazzed Up!

host-chase-masterson-at-kaylene-peoples-stories-and-standards-the-great-american-songbook — Host Chase Masterson performs at “Kaylene Peoples – Standards & Stories from the Great American Songbook,” April 2, 2017 (Photo: Robert Fisher)

Ultimately, Kaylene started a private Facebook group just for real jazz lovers.Back in 2012, she created the Indie Hotspot Jazz Series to bring more ‘real’ jazz to Los Angeles on a regular basis. And it’s not so hard to understand why her live performances consist of only ‘real’ jazz. What is real jazz? The term defines when the medium became popular in the United States. Many songs that were featured in classic Old Hollywood films by a well-known group of composers and performed by popular singers of the time. This practice continued for almost a century now, but has broken up into many different styles of jazz.

bunny-brunel-at-standards-standards-the-great-american-songbook — Bunny Brunel performs at “Kaylene Peoples – Standards & Stories from the Great American Songbook,” April 2, 2017 (Photo: Robert Fisher)

Jazz is defined as an improvisational discipline, where the instrumentalists use modal jazz changes as their guide. Classic vocal jazz consisted of jazz chords with subtle to extreme vocal improvisation, sometimes incorporating scatting. Standards & Stories from the Great American Songbook was a concept Kaylene Peoples had to marry standards with real jazz. [Footnote: Today we have a genre called smooth jazz, which is often confused with real jazz. The theory of the two genres are very different, yet they both have their own unique appeal. And sometimes these two genres cross over into the other genre’s style.]

Larry-Dunn-Luisa-Dunn-at-Kaylene-Peoples-Standard-Stories-April2-2017 — Larry Dunn and Luisa Dunn attend “Kaylene Peoples – Standards & Stories from the Great American Songbook” April 2, 2017 (Photo: Robert Fisher)

Kaylene Peoples Standards and Stories from the Great American Songbook premiered April 2nd, 2017 at the Mouse House Studio in Altadena, the third private concert put on by The Indie Hotspot. It was an intimate setting with an impressive lineup: Kaylene Peoples (vocals/flute), Bunny Brunel (acoustic bass), Mahesh Balasooriya (grand piano), and Bryan Cabrera (drums). Chase Masterson narrated and sang three Peggy Lee standards. Using a traditional trio and old-fashion storytelling, the audience was captivated by the stories and performances by this mega-talented ensemble.

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March 23, 2016September 28, 2023

Music Connection – PRODUCER CROSSTALK: RICH MOUSER

MUSIC CONNECTION – CROSSTALK, FEATURE ARTICLES, LATEST, MAGAZINE | MAY 23, 2016 | BY ROB PUTNAM

Producer and engineer Rich Mouser began his career much as Les Paul did: by taking things apart to see how they worked. At 12 years old, his first piece of audio gear was a Sony reel-to-reel tape machine. He discovered that by removing the erase head, he could achieve something much like a multi-track recording. When he later found that friends would pay to be recorded, he realized he’d struck a rich vein. He now works primarily from The Mouse House, his Los Angeles home studio. Past clients include Chris Cornell, Dream Theater and Weezer.

His first taste of success came when he recorded Black Market Flowers’ demo after moving to L.A. from Colorado in 1993. It landed the band a deal with Relativity Records. “They went to do an album with [famed producer and musician] Butch Vig in Wisconsin,” Mouser recalls. “I thought that was the last I’d hear of them. But I got a call. They’d finished recording with Butch and realized they liked the demo we’d done better. They asked me to mix their album. That helped me advance from just doing demos. After that, I started meeting people and budgets got bigger.”

“The hardest thing to record is someone that’s not putting out much on their instrument,” the producer observes. “You’re only recording what somebody is throwing out to the microphone. You get the sound from the source first and then when you put a mic on it, you make sure you capture that. People retrigger and resample drums and they don’t put the time and care into making them sound good off the bat. I try to get character in the sound from the beginning. Getting drums to sound good is something that I’ve always worked hard at.”

Mouser regularly records to tape but doesn’t use it exclusively. Certainly, though, he nurtures a fondness for it. “When you erase something, it’s lost,” he explains. “If somebody says, ‘I can sing that line better,’ you know that when you hit the erase button, it’s gone forever. In Pro Tools, a guy can keep asking for more tracks and soon he’s got 15 takes. There’s not that worry of having to repeat what you’ve erased. That’s what I like about tape: the urgency. I have so much analog gear in my studio that I try to use that [rather than Pro Tools].”

Much of his work comes by word-of-mouth. He’s never advertised and he finds that coaxing a band into using him is a strategy that’s never borne fruit. “Feeler calls sometimes work,” he says. “But you can’t talk anybody into recording with you. When people find you and want you, they’ll do it. But I have found clients by overhearing people talking about music. I’d strike up a conversation and mention that I have a studio.”

Bands don’t always adapt well to the studio. Mouser shares one story. “I did a four-track demo with a band in two days,” he recalls. “They got a deal with MCA, and when it was time to cut the record, they wanted me to produce. The working title was The World’s Greatest Album. Suddenly a band that cut four songs in two days was scared of every little thing. They psyched themselves out. We had to recut vocals and at that point they’d been in the studio long enough they’d given up. Suddenly the singer was back to his old self. He wasn’t worried anymore and it worked out great.”

Mouser’s current and upcoming projects include albums with Farmikos (featuring former Ozzy and David Lee Roth guitarist Joe Holmes), supergroup Flying Colors and prog-rock outfit Spock’s Beard.

Contact The Mouse House Studio, themousehousestudio.com

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June 12, 2013September 28, 2023

The Mouse House: Lofty ‘Home Studio’ With A Big Sound

By: Eleanor Goldfield / Sonic Scoop Jun2 12, 2016

ALTADENA, CA: Monday morning at 11am is a great time to maneuver around L.A. The freeways leading in and out of the city are abnormally empty, rocketing me from downtown to Pasadena in under 20 minutes. From there it’s about another ten minutes straight up into the hills of Altadena.

The lights turn to stop signs and the hum of freeways and a bustling work week fade into a quiet street where no one would expect to find a world class recording studio. Cell phones struggle to get one bar, neighbors garden with straw sun hats and from the outside, The Mouse House looks like any other residential home. Once inside, your footsteps gently reverberate as your eyes adjust to a two-story-high live room filled with vintage music and audio gear. As you move around the house, it’s clear that this studio is a strategically planned culmination of years of hard work, patience, audio science and creativity.

On one of the few days of LA rainfall, back in 2000, engineer/producer Rich Mouser(Corrosion of Conformity, Spock’s Beard, Chris Cornell) headed up into the hills to take a look at a house for sale. He had recently moved his entire studio into his house, an awkward and highly temporary setup. His former studio was a rental and after ten happy years there, he received notice that he had one month to find a new place. After endless searches for commercial studio space, Rich was finding only overpriced and underwhelming spots.

So, he decided to look into buying a house and converting it into the ideal studio.

The main requirement was a really high ceiling.

DIY recording was already on the rise but Rich knew that people would always want a space to track drums, or for that matter anything that required a great open live room.

After asking his realtor for anything with high ceilings – quite literally, regardless of condition – the realtor remembered hearing of a really “weird, totally funky place” in bad condition.

As Rich walked in for the first time, a sea of buckets greeted him, doing their best to capture the falling rain in a near-condemned house. The walls were unfinished drywall, the floor cement. Weeds clung to scratch stucco on the outside. The previous owner passed away before he could finish, leaving the house abandoned and in an ever-increasing state of disrepair.

Standing under the cathedral style, 35-foot ceilings, Rich clapped his hands.

“I thought, oh my god, it’s like ‘When The Levee Breaks.’ If you want ‘When the Levee Breaks’ drums, this is the room for it. This is incredible. So I did the calculations on the spot…and thought, I really think I can make this place happen.”

With three days left in the auction, Rich put in his bid, and won.

DIY BUILD-OUT & UP

With a new mortgage and the task of not just converting but totally renovating, Rich didn’t have much left over for high price studio construction. A few companies bid on just building and treating the control room. With estimates between $80-$100K, he put his faith in his own abilities and set to work learning all he could about studio construction.

“I read a lot about sound proofing. And really luckily, I was at Rumbo Recorders doing a tape transfer and they happened to have a core sample of their wall. So I grabbed that and studied it – I pretty much totally copied the design of their wall.

“I did a lot of it myself, and with a crew from Home Depot. I found a couple of guys I could rely on. I would get up at 6 in the morning, go to Home Depot, get all these supplies, bring it up to the guys, get them going on the day’s task. Then I would go back to my house and record and then take a lunch break, drive back up here to check on them and then drive back to my house and keep working. That was the process for about 8 months to a year.”

And after two years, the studio was finished. The final product is a phenomenal sounding space complete with unique touches, like a cat walk encompassing the perimeter of the live room, at first only crossable via a 2×12 plank of wood. It’s now home to various pieces of gear, from amps to plate reverbs, Moogs and of course room mics. Even such small details as the paint used in the live room show tremendous attention to detail, a creative flare and a determined work ethic that is visible as well as audible.

“The walls are drywall but I used this textured paint that has sand in it. It gives it a rough texture so it’s not just totally flat. The floor is still concrete. The ceiling is tongue and groove wood at an angle – starts at 35 feet and drops down to about 25 feet.

“And there are so many weird angles in this room. Trying to sound proof it was a nightmare. There were all these windows that I had to cover up – with drywall and air spacing. I’d put drywall over the windows – three layers: drywall, soundboard, drywall. Then I’d put a 2×4 so there’d be air space of a couple of inches and then put another three layers of stuff on top of that. And some of those windows were up at the very top – 35ft high. So I’m in this scissor lift that only goes up to 25ft, on a ladder. I’m holding this piece of drywall up there, trying to screw it in thinking ‘Please don’t let there be an earthquake right now.’ Caulk, mud, stagger – and if you’re off by just a little, you have to go all the way down, move it over an inch then all the way back up.”

The only thing that Rich didn’t treat was the ceiling. When confronted with the idea of trying to soundproof the crown jewel of his studio, Rich decided to wait and see if the sonically open ceiling was a problem. After ten years, it isn’t.

ROOM, GEAR, VIBE, ROOM

Far from being a problem, in fact, the lofty ceilings of The Mouse House have lent their tone to many instruments, and artists, not just drums: Chris Cornell, Joe Holmes of Ozzy Osbourne, Josh Freese, Chris Vrenna, Robert Trujillo, Tears for Fears, Oleander, Spock’s Beard, Weezer and more.

Original Source:

http://www.sonicscoop.com/2013/06/12/the-mouse-house-lofty-home-studio-with-a-big-sound/