R.A.P. Give us a quick rundown of your studio setup.
Joel: The main production studio is an 8-track with the Otari MX-70 and two MTR-10's. We're using a Wheatstone board which has been modified considerably by our chief engineer. We have an SPX-90, and hopefully we'll have an SPX-900 in here within a couple of weeks. We've got the classic Eventide 949, an Orban compressor, reverb, and an Orban EQ as well. Our keyboard is an Akai X-60 with the NB-280 sampler/disk drive unit that goes with it, and frankly, we're not using it that much. I used it all the time a year and a half ago. We went through a pretty intense stuttering phase around here. I kind of agree with Brian Wilson's comments from last month's interview. We can get carried away, and frankly, I think it's starting to sound a little stale. We will use sampling effects occasionally, when it really works, but basically, we're looking for attitude and content.

The auxiliary studio is outfitted with MCI 2-tracks and an MCI 4-track. There are no effects generators in that studio. It's set up basically for dubs, tags, and simple voiceovers, but it's a real nice studio.

R.A.P. What are you using in the way of production libraries?
Joel: We have Flashpoint and Power Tools from Brown Bag. We have Signature 5 on CD and two other Signature packages from Joe Kelly. In the way of sound effects, we have Sound Ideas and the Electra on CD. We've got a BBC library and the L.A. Airforce set, and a couple of wonderful, classic, old effects discs from Major.

R.A.P. Do you see any trends in production? Is "attitude" possibly the new trend?
Joel: Well, yes. Commercial writing is a pretty big part of what I do here. Probably 30 percent of my time is spent writing and producing spots, and I enjoy doing it when I have the time to do it well. I must refer to that article in last month's issue about how to sell things and dealing with emotions. You can't just say "Solid Sam's has got 2 for 1, it's the place to go." You've got to be able to strike a chord. It's attitude. It's how you position your-self and the language which you choose to do that.

R.A.P. Can you think of a little production tip or technique you'd like to pass on?
Joel: I can't think of any one specific thing, really. Just keep your ears open and watch MTV.

R.A.P. What's in the future for Joel Moss?
Joel: It's hard for me to imagine what the future would be; I'm so content now; I have been for the past couple of years and for the first time in a long time. I spent a lot of time finding something I wanted to do, and now I'm doing it here. I've had a couple of offers to move back to New York and an offer to go to LA, but I really like EBN and Cincinnati. It really doesn't matter where you are.

I'm fortunate to have worked in New York. If I hadn't done that, it may have been something that I would want to do. But I like the lifestyle here. I like the pace of life. I like not having the traffic. I like the mid-west. I really do.

R.A.P. You have several years in the business, and you've had several offers to move. What do you think Program Directors in the larger markets look for in a Production Director?
Joel: I've got to believe that the skills to operate the equipment are more easily attainable than the creative skills that come out of the typewriter. I believe that is the direction more astute programmers look to when they want to find somebody for this position. It's easier to find a technician than it is a skilled writer, and I think when you marry those two, you've got a guy that's gonna do a lot.

Look for work from Joel on this month's Cassette. We'd like to thank Joel for the opportunity for this interview and also for his continued support of Radio And Production. Joel is one of our charter subscribers.

We have no rules about the RAP Interview. We plan to make stops all over the country regardless of market size or station ranking. As you're well aware, the Production Director is someone who seldom gets the recognition due for his or her talents and accomplishments. With the RAP Interview, we hope to give this recognition to those who deserve it.

If you know of someone you feel would be a great subject for a future interview, drop us a line with the person's name, number, and affiliation. If you feel you personally have something to offer our readers and would like to be interviewed yourself, let us know. We by no means have the complete list of interview worthy production talents in the country, and as we have said, this is your RAP sheet; this is your forum to speak your mind. Don't be shy, drop us a line and tell us who you are and what you feel you can offer our readers. We'd be happy to consider you for a future interview. Thanks!

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Audio

  • The R.A.P. Cassette - April 1996

    Production demo from interview subject, Jay Rose, Digital Playroom, Boston; plus work from Daryl Missen @ B105 Australia, Fred Cunha @ CJEZ Toronto, Rich Van...