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James Paul is an innovative and sympathetic producer and engineer of many styles of music.
His extensive experience as a recording engineer, live sound engineer, classically trained
composer, multi-instrumentalist, and club booking manager have given him a unique perspective
that he brings to every project he takes on. Combine all of that with two of the finest ears
in Canada and one can easily see why he is in such great demand.
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James began his recording career as a logical extension of his work in composition, moving
from more the traditional forms to electronic experimentation. He founded Blissful Productions
in February of 1988 as a recording outlet for this new musical direction. Soon afterward,
James began saving money to build a complete recording studio by working as a live sound
technician and venue manager in many of Torontos music clubs. This gave him an opportunity to
forge long-term relationships with many of the local acts who were soon to become his clients.
In November of 1991 The Rogue opened for business and has been booked ever since by such artists
as Alanis Morissette, The Barenaked Ladies, Blue Rodeo, Rascalz, Hawksley Workman and
The Northern Pikes.
The Rogue has attracted many repeat clients, which has allowed James to develop closer creative
relationships with the acts, often moving from the engineer's role to that of producer or co-producer.
As a producer, James brings to bear the full advantage of his extensive musical knowledge and
recording expertise to solidify each performer's songs and ideas into a cohesive whole. He views
the recording process organically, seeing the recording equipment and the recording process as a
musical instrument that must be mastered and then performed as an integral part of the music.
The astonishing success of his unique approach is on record for all to hear.
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A gifted recording engineer, mixer and producer, Jameson Elliott is not only a great set of ears, but it is his special blend of integrity, talent and easy going nature that make him a Sonic Renaissance Man. When it comes to making a record, Jameson Elliott is the link between what you hear in your head and what will eventually pour out of your speakers.
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Back in 1996, it took no more than a year for Jameson to leap from estudio ratf to full-fledged recording engineer at the legendary Rogue Studios in Toronto. Over the course of thousands of sessions and hundreds of projects, amidst the mayhem of vintage toasters, broken radios and antiquated musical toys, he quickly became an extraordinary all-around musical handyman.
In 2002 Jameson took the show on the road. Savant musical impresario Hawksley Workman called on Jameson to transform his pile-of-bricks Schoolhouse into a fully functional, professional recording playground where together they recorded and mixed Workmanfs outstanding Universal Music debut Lover/Fighter.
Currently Jameson has found himself broadening his wide experience in varied musical styles even further, working with acts as varied as Celtic monsters, The Glengarry Bhoys, and working on a number of different projects with legendary JazzFM dj and producer Jaymz Bee.
Everything from a thousand dollar metal record with Goat Horn to a classic Frank Sinatra cover with the Barenaked Ladies, from battling a Siberian Tiger on tour in the wilds of Quebec to capturing a priceless first take vocal by Kathleen Edwards.
His mixing forte, musical ears, and production savoir-faire elevate the music to a higher sonic plane without marching all over a musical vision. Jameson will shine in any recording or mixing situation (analog, digital, he even makes house calls). Always giving the artist exactly what they want to hear!
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Stew Crookes calls his production and engineering style 'hi-fi and lo-fi at the same time'.
Three days after graduating from the Harris Institute for the Arts in 2003, Stew came to work and learn first hand from James at the Rogue which fuelled and informed his passion for combining experimental and classic analog recording techniques.
His production and engineering style has been exploited for album projects by artists including Doug Paisley, Hawksley Workman, Sean MacDonald, Kensington Hillbillys and more and as well he has engineered to a high standard for notable Canadian producers on albums for Jill Barber, Luke Doucet, and Justin Rutledge among others.
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Stew plays the pedal steel guitar for Toronto country sensation $100 (myspace.com/1hundreddollars) and has played on piles of sessions including on albums for Emm Gryner, The Hidden Cameras and other discerning artists.
His website with up to date discography, info, news, and inane meanderings can be found at: generalleelay.com.
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Fletch is that one guy, you know?
He left the Harris Institute in 1997 and entered the world of rock and roll. He eats, sleeps, and breathes rock. Straight out of school he opened his own studio. Ravensound started as a strictly mobile studio doing live albums for local bands, but Fletch was soon forced to open a recording space as the demand for studio projects grew. Fletch discovered he really liked studio work. Things happened (as they tend to) and Fletch left Ravensound to work with the good folks at The Rogue. Fletch likes The Rogue. Fletch happy. Refers to self in the third person. Odd.
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Fletch is also the current House-Tech at Clinton's Tavern and has mixed about 3,000 bands in various venues. He has no idea what to write for a bio, so you're getting all this drivel. Perhaps later he'll come back and write something better. Fletch was told that if he didn't write a bio Jenn would write it for him. That made Fletch afraid.
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Jenn
Regrettably, Jenn Larry has left The Rogue.
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