the elsewhere room & 368 productions

*** the elsewhere room is not a commercial studio.
it is a studio I built to track parts & overdubs for my projects, and for remote session work.***

"Bryan Ewald is a gifted guitar player and musician, fluent in many styles. For years, I have highly recommended him as a teacher and player to see live. He is one of the finest this area has to offer." Paul Reed Smith “Bryan’s playing always feels fresh, his sense for musical exploration genuine. One of the best out there, no doubt.” Warren Zanes (del fuegos) “bryan ewald 'made' my record. I can't and would never want to imagine what it would sound like if he didn't play on it. He is the best guitar player I have ever had the pleasure of (envying) playing with. He has an instinct that lets him play any style of music without effort and I hate him for it.” Jimi Davies (a.k.a. Jimi Haha of Jimmie's Chicken Shack) "Ewald is virtually stalked around Bay Country by musicians wanting to fuse his chops into their lineup. Ewald spreads his talents in bands across the East Coast, Every note he plays counts." Matthew Pugh (of Bay Weekly)
	audio samples:	demo reel one: download h demo 1 track/credit list demo reel two: coming soon ______________ more on the downloads page
	services:	session work, consultation, production / arranging. guitar and other instrumentation.
	resume:	in addition to my work in my own bands, I have been hired to play guitar (for live and/or studio work) by dozens of artists including (but not limited to) Pat Dinizio (the smithereens), The Supremes, The Temptations (feat. Damon Harris), Owen Sartori (burst records), Warren Zanes (the Del Fuegos), Judd and Maggie, Bens Bones, Jimi Haha (Jimi's Chicken Shack), August West, Doug Segree, Shugar, Suzi (Kim Hall), Mama Jama, Linwood Battle Jr., David Glaser, Seeno, Orlando Phillips, Stereopool and many more...
	***please note that all equipment lists are general, non-comprehensive and growing at an alarming rate.
	instruments, amps & more:	guitars/basses include paul reed smith (513, hollowbody, soapbar), fender (various telecasters and stratocasters, 8 string lap steel, basses), danelectro (vintage baritone / bass-six, 6 & 12 string), Gretsch, Rickenbacker (vintage 4003 bass), Martin, Taylor, Harmony, Egmond...in addition to what I have on hand, I have access to just about anything you can think of. other yamaha s80, clavinet D6, wurlitzer, harmonium, marx-o-phone, banjo, melodica, assorted drums (including a 1950's 4 piece gretsch kit)many odd zithers, xylophones, bell sets, percussion... amps my main work horses are a 68 fender super reverb a 66 deluxe and a 60's ampex B-15 fliptop. I have a bunch of other amps with various tube / speaker configurations. big ones, little ones. again, I have access to a lot more. effects way too many to list.***
	recording gear:	I am using a protools system (24/96), however, I am compatible with any other software recording platform. mics and outboard gear include sennheiser, shure, AKG, audio-technica, EV, rode, chandler, joe meek, presonus, aphex, altec, focusrite, oktava, tech 21, DBX, sony, studio projects and more...***
	rates & other info:	click here
	options:	I can travel and do session work at your location, however ideally, I prefer to track my parts here. since I can work at my own convenience, I can usually get to it sooner and most importantly, charge less. when traveling I am limited as to what I can bring to a session. recording here, I have access to all of my instruments. the process is quite simple. click here for rates and a procedure guide for a remote session.
	my philosophy:	if I had to pick one rule to live by, it would be "the song is king". whether a track calls for a big guitar hook, a wall of dissonant chaos or a subtle texture, I believe it's is always best to let the song dictate. too many musicians are driven by ego, which leads to overplaying or just not "hearing" what best suits the song. I welcome as much input from the artist as possible. as far as my personal tastes are concerned, I prefer less obvious parts that avoid musical cliché. I am driven by melody. I tend to like things some may call quirky, odd tones and textures. I think you should never fill every space, as it has already been said, the most important notes can be the ones you don't play. I regard the 'art' of production, recording and mixing as highly as performance. I'm as much a fan of the work of nigel godrich, mitchell froom, tchad blake, george martin, geoff emerick, rudy van gelder, daniel lanois, rich costey, t-bone burnette, don dixon, bob clearmountain, brad jones, tom lord-algea...(I could go on for days), as I am of my favorite bands/artists. there is no right or wrong in "sound", but what makes a sounds good to me is dimension/depth and color/texture. that can go both ways, sometimes big and fuzzy is right and sometimes thin and glassy works. experiment, experiment, experiment...