Continuing Work on Black’s Backbone

The Black’s Backbone album continues forward.  With three tracks left on a 16 track album it’s a great deal closer than it was a month ago.  Check out the album check list notes below.

Updated album notes for the Black's Backbone album - Spiral World!

Updated album notes for the Black’s Backbone album – Spiral World!

More green = good!  Happy St. Patrick’s Day!

In other news the Bleep Blip Bloop Re-mix Competition is complete!  We’ll be announcing the winner soon.  Thank you from the REB Records team to all those who submitted.

Re-mix competition!

Re-mix competition Complete!

A whole lot going on

We’ve been busy the past couple months behind the scenes at REB Records.  Working with K.Joy/Harmonie Phoenix, Tarek 22, Theft to the Gallows, Black’s Backbone and several DJ in and around Chicago.

With a new compilation album coming out in the next six weeks (fingers crossed) REB has been on a couple radio interviews: WHPK hosted by DJ Derrick da Deacon, and yesterday on the TP Live Show with TP Corleone.  You can see the amazing collection of vinyl below.


Harmonie Phoenix vocal edits

Working on some vocal editing for Harmonie Phoenix REB Records.  This week has been crazy with over 50 hours of production work between Monday and Thursday,  Radio interviews, discussions with some great producers and DJs, from Chicago to Atlanta to South Africa!  The whole team has been working hard.   Here’s a little behind the scenes look at “Girl Boy Panic” production.  To be released on the REB Records compilation album “Unrestricted.”



Thoughts on equipment

SSLWe’ve been going through a lot of interesting discussions and learning experiences over the past several months.  One that stands out is the purchase of equipment, that leads to higher quality art.

There’s a trade off between quality of equipment, durability, and cost.  Sometimes used equipment in good condition is perfrect, other times new equipment is important.  For example we recently picked up a used Allen & Heath GL2200 Series console, which has 24 channels with direct outs.  This thing is in mint condition, everything works, and being an A&H it will last abuse both on the road or in the studio.  Yes it would be very cool to have an SSL AWS 948 (god would that be great) but the cost difference was (literally) 199.85 TIMES more expensive… (The AWS 948 new is $99,925)


Allen & Heath GL2200

So in this case the used option for does what the studio needs and makes sense.

On the other side of this equation are microphones, which are generally something that we try to purchase new, as the frequency response and output of a Neumann KM184 that’s spent 4 hours a day for 8 years over a drum set is probably going to be somewhat different than the output of a new microphone or one that has only been used on strings.

Microphones have a very thin diaphram that is stressed when pressure waves push and pull on it.  Like a drum head gets worn out, the wear on the diaphram can alter the sound of the microphone over time.  Another cosideration is the dust that builds up on diaphrams, especially condenser microphones that are continually sent phantom power, which increases the mass of the diaphram and thus reduces the ability to accurately react to high frequency.



Micro Music Mash update – Gorilla Tango Theater

REB Records is confirmed for shows on April 9th and 23rd at Gorilla Tango theater in Buck town.  Gorilla Tango is a black box style theater at 1919 N. Milwaukee Ave. in Chicago.  It is known for off the beat plays and hilarious burlesque shows which can be seen pretty much every weekend.

With Gorilla Tango’s help REB Records is planning a series of shows that are highly theatrical and entertaining, but that focus on bands and music.  Like Austin City Limits or CBGB’s in NY the shows will feature interesting acts and the audience will really get to hear and watch these acts perform.  It’s not a bar (though there will be beer,) and it’s not a formal concert.  We’re excited to be creating something that will hopefully become a meaningful part of the Chicago music scene.

– REB Records

Moving forward with the Micro Music Mash!

REB Records has been working hard to put together a residency style performance and the first steps are finally falling into place, (still waiting full confirmation, so maybe I’m jumping the gun a little.)  We are excited to be doing a set of two shows at Gorilla Tango at 1919 N Milwaukee Ave, Chicago, IL on April 9th and April 23rd!

On a business note the idea is to see how the space works, if marketing brings in new demographic then “current fans” and if we as performers can put on a great show together.  The performers currently booked are Theft to the Gallows and Terrible Spaceship.  These two groups are polar opposites in stage presence with Terrible Spaceship rocking labcoats, synths, lights, video; techno-soul music, while Theft to the Gallows wraps themselves in t-shirts and ducktape, plays acoustic, and builds some stuff from scraps; you’ll have to see it to see it!.  Really just check out the music, these groups are both doing some unique and interesting music and put on super interesting shows.

If these first two shows go well and the kinks get worked out, we will be looking to begin a residency in the summer.  Every other week or so.  What we are doing is transplanting a band based musical show into a musical theater or comedie theater business model.  Meaning there is a set venue (think of Million Dollar Quartet at Apollo or Second City here in Chicago) that generates traction over time as the word gets out.

The current model for bands is to go play a whole bunch of gigs all over the place, mainly at bars where people are sort of paying attention, then after doing a couple dozen shows (translate to hundreds of hours of work) booking as an opener to a larger band, or booking a larger venue.  There are several issues with this method.  First is that ninety percent (I’m making numbers up – and being conservative) will never play 24+ shows in a meaningful time frame to generate a fan base that will then actually pay for that larger gig.  Secondly once you hit a certain age – around 27? or so – the rock band local tour life style loses its appeal.  The bass player starts talking about what carpet they’re putting in their condo this weekend, or the drummer can only rehearse for 1 hour 13 minutes on Thursday evening starting at 7:04 PM.  Life starts to get in the way.

Great musicians and bands stop playing, music becomes something that “I did in college” or that you gear up for once or twice a year to rock out in front of your friends and coworkers.  This is not necessarily due to a lack of commitment (though there are cases where it is completely that.)  The expected route described above does not compliment having a house, family, pet, job, or anything that warrants waking up before 1:00 PM.  Now I would argue that someone could do musical theater, local theater, even be in a local or professional symphony (in which I have several family members) and because there is a structured schedule, at a set location, with a committed audience and various means of funding, can still work a day job, and have a pet; and a life.

The point is not to become famous or make a bunch of money (we would love to break even since running a record label and recording does cost thousands of dollars); it is to perform, entertain, enhance a community, pursue creative outlets and have some fun.  This is what the Micro Music Mash is about.  REB is extremely excited that it is happening and maybe you will be there!

– REB Records

Studio Walkthrough – Doors and Windows added

This video is a walk through of the preliminary studio design for REB Records. Console is a 48 channel SSL Duality SE, a console that we’ve worked with at another studio and have enjoyed.

While placing doors, which are 3′ 4″ wide and 6′ 10 1/2″ tall (The more generic ones going to the bathroom and the HVAC are only 3′ wide,) it became apparent that there really is not enough space for a sliding door as seen in many studios between the main tracking room and the Isolation booth. So the double door method is used. The basic idea is that the lounge/Sound lock/bathroom are all connected on the bottom right (if the tracking room is the “top”) of the studio making the access between these rooms relatively easy. The tracking room is then connected to the Iso booth – which is the only way to get to the storage closet and behind that, (at the lower left) is the HVAC closet.  There are drawbacks to having, for example, double doors going into the Isolation booth.  They take up significant space – a sliding door does not take up physical floor space in either of the two rooms that it connects, swinging doors do… This and hundreds of other questions from funding to building to equipment to sight lines to things we haven’t thought about are being considered and debated.  Below is some explanation of the door situation.

The reason for only one door to the control room is two fold. First, it creates the best isolation between the control room and all the other spaces. There is only one door to the control room and it goes into a room that does not have a door to the outside so there would be very little bleed into the main mixing area. Secondly, It provides the most amount of wall space for use. Anytime a door is added basically a 8 to 12 square foot amount of space is taken away depending if the door goes out from the room or into the room. So the doors on the vertical hallways are all at the long end of the rooms where there they potentially leave more room for equipment and gear along the walls.

Design will continue in the next couple weeks, adding textures, equipment, instruments, acoustic treatment and eventually lighting and a design for the ceiling and roof.

More complete list of REB Records studio needs

As the process continues we are putting together the needs of the studio.  Next will be equipment lists, and then cost estimations.  The needs vs. wants are currently intertwined, but will be separated once cost estimates begin.  With any studio there are places where one may find significant savings if work is completed by oneself, and then other places where the workmanship needed exceeds what Sully and Ryan, and some of their very awesome friends and family, could contribute.

  • Large storage area: PA equipment, drum sets, not used equipment… 
  • Equipment closet/Room: Cables, Microphones, stands, 
  • Main Mixing Room: large enough to have almost full band in, couches, producer’s desk 
  • Main tracking room: Large Live room 
  • Vocal Booth: Dead room for reamping and vocals 
  • Good security 
  • Kitchen/Lounge area to keep drinks, and coffee, some food, maybe a computer 
  • Sound Lock: Hallway between tracking and Mixing rooms 
  • 12+ ft ceilings 
  • Wood floors, ceilings 
  • Heating and Cooling of some sort that is quiet HVAC 
  • At least two 120 Amp circuits, preferably three (2 in the each of the main rooms) 
  • Enough space and design to not be heard by neighbors or main house. 
  • Good lighting that does not make noise

Theft to the Gallows

Theft to the Gallows has been working hard on putting together some acoustic versions of their tracks in production.  The idea being to go out and perform them live at small venues, open mics, and songwriters showcases to work on their chops as a group.  Today they recorded some of these, just one take through live.  Check em out!

The hackers

If you’ve looked around this web site lately it has been changing significantly; daily.  One day you may find that it went to a “Penis Enlargement can be yours for only $.22 a day!” site.  Other times it was blank, or a WordPress default page, or “This page cannot be found, how embarrassing” message.  Basically a team (yes really, they have call names and a facebook page, and put their “trophies” – sites that they’ve hacked – up on display) decided that our fledgling site was one to fuck with.  Thanks guys.

How do grown ass people think this is fun?  Or useful, or in any way beneficial?  Here we are, a self-funded record label working to really help artists, trying to talk to investors, and now we have two months of fixing and updating,  learning HTML, talking to professional web developers, and tech support.  I understand that this security concept is important, but it’s kind of like poisoning someone’s food to get them to buy/use health care… I get the idea that people need to be aware of the failures in their web design so that “bad” things don’t happen – But then you are the bad thing.  Like a real life video game, but playing with people’s lively hoods and pursuits, and career’s – and to what end?

Anyway, I think that things are in fact back to being secure.  Passwords are way more difficult, updates have been made, the entire code was deleted and rebuilt.  All plug-ins reinstalled.  The posts have been re-uploaded, mainly because it’s beneficial to feel that all of the work in the past has meaning.  Those post represent thousands of hours of creative time and hundreds of hours of business time.

So REB is moving forward again in the digital domain.  We should have all the albums back up  (they’re still hanging on which we’re using as a host for this site,) by the end of the weekend.  Art work is uploaded to the databases, and needs to be implemented back on to the web site.

And I will say I have learned a lot.

Web Updates

Posted on September 12, 2013
As REB Records works to move forward, lately it’s been fighting Hackers who think it’s funny to play with peoples time, pursuits, and money, but also doing some research on how to improve the web site as a whole.

The basic idea is it needs to be simple. When someone goes to the site it should be two to three clicks and you’re listening, reading or watching what you want. It’s not about six columns, having large comment threads (go to REBrecords1 on for that,) or one hundred links to everything. There are two concepts that we’re thinking about, discussing implementing.

The first is pretty prevalent (and easier now with HTML 5) and that is embedded videos. Not links, but videos that actually play right there on the page with source files hosted on youtube or vimeo. Yes this is common, but in our case the question is does it support the music and artists, or does it detract and distract?

Something like, “check out this very neat interview with Mick Guzauski, the engineer who mixed Daft Punks latest album “Random Access Memories, on Pensado’s Place!” He talks about the process of recording to both analog tape and digital Pro Tools especially for drums, and also how the mixing process was done in a several month time frame. Guzauski also makes some of the most advanced monitor speakers on the market, cool stuff, worth watching for those interested in how the industry works behind the scenes as opposed to how the marketing teams and media portrays it.


The second is the idea of having the ability to interact without any information collected. Possibly a like/dislike button where the results are not public. This information would allow REB and it’s artists to see what people are interested in. It would allow an interaction, and while not personal would be directly useful to bring art back that is in line with both fans and artists goals. By having it not public, it is not influenced by other fans; it is your opinion.

Nothing too final on these, just thoughts we’re playing as we work on videos for Theft to the Gallows and TEE.

– REB Records

Been a while

Posted on July 8, 2013

REB Records has been working on our next step… Expansion! (sort of)

We’ve been looking at what would be next for artists who come and work with us, and after much discussion it seems like physical restrictions are one of the key places where we could improve. Of course there are other things; marketing, publicity, equipment, web site redesign, among others. Product is important, and REB is about helping artists develop and complete (one of the hardest parts) their work. Then distribute and market.


Steps to create a record: (partial credit to Collin Jordan over at the Boiler Room Mastering)

1) Pre-production – writing songs, arranging, practicing, lyrics, chords, instrumentation, contracts, demo tracks, metronome tracks, harmonies, guitar tones…

2) Tracking – recording all potential parts, possibly basic editing, microphone placement, preamp choices, guitar amps, tuning drums, dealing with phase, finding a good room…

3) Mixing – The art of the recording process, where the parts are all put in place and polished, fine tune edits, delay lines, perfecting phase, EQ, compression, gate, other processors, this is painting the picture, bring it to life and enhancing the underlying production and song…

4) Mastering – taking all of the individual tracks and creating a final album, levels, 2-track EQ, clarity in extreme highs and lows, perfecting the sphere, black-magic…

5) Duplication and Distribution – Getting the work out to the world, internet presence, social media, downloads, streaming, videos, CD, vinyl, marketing…


REB has a good start on the following


(1) Pre Production – The Cleft Way, and several artists who are starting to self produce, though having a space for rehearsal and creative interaction would be helpful.

(2) Mixing – REB has a decent mixing space, a treated room with several sets of good monitors, relatively quiet environment, master control, Logic, Pro Tools, Ableton, CS6; standard stuff and some pretty cool outboard equipment.

(3) Mastering – We’ve been very happy with Boiler Room Mastering here on the north-side of Chicago. Collin does a great job and has A+ equipment and ears.

(4) Duplication and Distribution – This is something that REB is pretty devoted to utilizing primarily the internet. As smart technologies continue to transform the public’s interaction with media, REB will continue to research the best ways to bring artists and fans together. This is the place where REB needs the most human resources and knowledge, and we feel that having a larger product base would be helpful.


Obviously missing hear is step “2″ from above – Tracking. A space would also allow artists to have a real place to do pre-production.

Anyway on to prep work!

Media, Media, Everywhere

Posted on June 2, 2013
This is a challenge (and major expense in time or money) to any artist out there right now. Consumers look to go to the most convenient location and expect to find their media there. This means that an artist now has to worry about YouTube, SoundCloud, Facebook, MySpace, Google+, Pitchfork, iTunes, Amazon, bandcamp, Pandora, Grooveshark, LastFM, Jango, EMusic, Rhapsody, Spotify, and I’m only getting started. Now you have to figure out which of these stretch internationally, which appeal to what demographic, and whether you are selling or streaming or giving music away; no one wants to pay $10 for an album on iTunes and then find it for “pay what you’d like” on bandcamp! (Also are any of these going to make an income that pays for the year and a half of production that went into the album in the first place?)

Now of course there are resources that make this more stream lined, tunecore for example, but still it takes dozens of hours to figure this stuff out… AND THEN consumers change their loyalties or another site comes on as the big player, and any artist or record label has to take significant amounts of time to keep up with this.

Now with everyone doing this (and no one really knowing the “correct” way) artists are throwing ingredients into the pot with out knowing who the soup is for, and consumers are grabbing into the pot looking for something they might like – and pulling up lots of bones and crap they don’t want. Where’s the filter? Once a consumer finds something yummy, hopefully they follow that thread, maybe even tell a friend about the awesome morsel they discovered (by “liking” or “+ing” or “tagging” or “linking” or “posting” or “thumbs upping” or whatever) and then a bunch of people jump on the thread like capillary action are pulled to listening/watching that artist. Right?

But with the thousands of hours of material being uploaded to the machine daily without any filter at the front saying this sucks or this is worth checking out, great art is getting lost as any given consumer has a 2″ x 2″ frame through which they are forced to look at “A Sunday Afternoon on the Island” and any artists is just one point. The whole concept becomes one of chance, (and on a cynical note the House are the internet providers who can charge $100 a month for access to all the material, which they don’t pay for and then are free.) We now live in a world where the internet really is the land of the free.

Now add on to the fact that once a fan does find that awesome speck in their 2″ x 2″ viewing field they will most likely do one of the things above (like, +ing, tag, ect…) to show their support, and the concept of creating art (a very expensive – time or money – pursuit) becomes something daunting. How do you create income in an industry where the consumer won’t pay for a product??? Pose this to a business major, as every major label is doing, and it becomes clear there must be a different interaction and model than what many artists are doing now – throwing everything in the pot with prayer.

If one looks around this site a little bit they’ll see several mentions of Amanda Palmer. Her TED talk has some really interesting ideas – and an approach that seems to work for her evangelical (not religious) fan base. There is significant issues with it (here, here, here, just for starters.) But even with all of these criticisms it comes back to the same dilemma; if fans expect to actually pay by clicking “like,” how will anyone be able to continue to create? What does it cost to create an album? I mean really create. For example if I’m an artist/performer I can go tour, until I have a kid. But what if I’m the studio owner, the back up singer with a family, the arranger of the string parts, the conductor, the technician, the string players, … the song writer, the lyricist…; the things that make great albums great. These people can’t go tour, and artists don’t have the money to pay all of them – well at least not if the only income is from touring.

Touring is a short term solution. For example, if I build an awesome fridge, and the only time one pays for the fridge is when I hall the fridge and sell it on location, but the fridges that are in stores all across the world are free, will this generate enough income to make the next fridge? No. Even if everyone in the world loves my fridge and has it, if there is no exchange where is the innovation and evolution of the fridge?

This may sound like a rant, but really it’s the components of the equation that artists, producers (those who are not at the front line) and fans of music must solve. And REB Records believes there is an answer, probably several answers. We’re working (as artists and sort-of business people) on a path that may lead to something that works, one that both consumers and artists and producers can accept. One that allows artists to create with a “___” centric concept for ART, not one that is based on “selling” or capturing a fan base. The fans, the supporters come because art pushes boundaries and it is exciting to be a part of new art and entertainment.

Ok, I’m done … for now. 🙂


Keeping Busy

Posted on May 28, 2013
REB has been working hard these last couple weeks behind the scenes. Getting the whole YouTube thing going, as well as revisiting contracts and business structures. Also Black’s Backbone has its first single coming soon, and instrumental versions of all the TEE tracks are on their way.

Going back and listening to the Naz and The Cleft Way album (as it was being put up on the YouTube page) was great. She has an outstanding voice, and is playing gigs around the Chicago-land area with her band The Slowbots.

REB Records is working on its next step, and should have new music coming soon from Black’s Backbone, Audio Synthese and Theft to the Gallows.

– REB Records

Euro-American TEE album is now up!

Posted on May 12, 2013
We just got up the second TEE album, Euro-American Electrick Glowstick Dance Bunny up on REB!

– Thanks for listening and please enjoy! Download, stream, leave a comment if you’d like…

What we’re doing Today

Posted on May 9, 2013
I’m currently uploading the first TEE album! (Literally I’m waiting for track 7 to upload as I write this.) We’re very excited to bring this album out after two years of production with TEE and the Black’s Backbone production team.

The first album, Groovalicious Smart Hip Chick Dance Music should be up this morning. You can stream it, or download it for free. Steal it send it to your friend if you like it. We’d love to make a nillion-billion dollars, but we’d much rather get the music that REB Records is involved with out to fans and friends. Really.

(Uploading track 8)

Maybe from looking around you can see that we are doing something different, and at some point we’ll go through and discuss the contracts that REB signs with artists. As artists ourselves, we think this is the way the industry is moving, (no crazy royalties, advances, artists’ debt, and music being based on the market which is manipulated through massive marketing campaigns.) We will do a 90/10 split of revenue after costs (which are spelled out not bullshitted up and up.)

For example you want to support TEE and decide that the t-shirt with design by Amy L. is cool and pay $15 bucks for it. If that t-shirt cost REB $5 to print (and we’ve paid Amy L.) the artist will receive $9, and the label will get $1. Same thing with “support” moneys from any other source. Go check out a Major label contract and you’ll see that this is often close to reversed or worse. (A really good book that explores this in an understandable way is Donald Passman’s “All You Need to Know about the Music Industry“)

(Uploading track 9 – Your World)

If artists and producers are willing (or are already) putting in the work, we want to work to bring this to an appreciative audience/fan base. And then let that artist go sign with Universal or Sony for 3 million bucks; sweet.

I digress, and we’re still working out the details, you know with the accountant and lawyers, and so forth.

The point is we’re excited to have two new albums going up. We want artists to have the ability to create and collaborate, and we (as artists ourselves) think that this (as opposed to when we were signed with a pretty significant indy label in Europe) is a step in the right direction.

(and track 9 just finished!)

– Ryan

Mastering completed on TEE!

Posted on May 4, 2013
Yesterday we spent 9 hours at The Boiler Room with Collin. He did a great job putting the final touches on the TEE albums. They will be up and available this week (The instrumental versions will be available in the next two weeks, if interested send us a note.) REB Records is excited to bring these albums to you!

Things to come on REB

Posted on May 1, 2013
Right now REB is working towards some new things; “things” because they come from many different angles.

We have begun production of Audio Synthese, and exciting socio-electronic artist based out of Chicago. Tracks will be placed on the AS page once they become available.

REB is putting together YoueTube videos for all of its current artist and the many albums, which includes:

Satya Graha, The Cleft Way, Naz, Kym Franklin, and TEE.
These are going to be cover art vids, and will be made available soon.

We are finishing up an actual music video for the new TEE release. Mastering is Friday.

REB is starting work on the “Theft to the Gallows” project


Black’s Backbone single is being mixed for that artist.

and there’s more…

We’re excited about going through this process to bring art to a greater audience and also beginning to build a catalog from the many different artists that move us, and that will hopefully move you.


– REB Records

Finishing up the TEE albums!

Posted on April 24, 2013

It’s been a long project, but REB Records is going to mastering next week with the TEE album. Final mix notes were implemented this last weekend with a 12 hour and a 6 hour working weekend… and it was worth it. After two years of production these albums bring some new sounds to REB, and cover a variety of topics.

Updates will be coming soon, as we start working towards a summer show and the next musical recording project.

Pre Production Begins – The Cleft Way “Love Junkies” Album

Posted on April 15, 2013

REB Records is starting prep on the next production, well sort of. Prep started about 3 years ago, but the basic songs are being geared up for the production stage! Below is a draft of the working lyrics (which may or may not be change). Frank Libbe, Satya Graha’s original bass player who wrote “Oliver & The Dutchess” with B.B. Mayes contributes the music for this ethereal love gone wrong song. Those from Chicago (or into supernatural phenomenon) should be able to find some history mixed into the [true] story. Possibly a rough draft coming in the next couple weeks, as the final steps of the TEE albums come to a close.

“The Brimstone Ballet”

My marriage turned into a horror show
I ended up in Bachelor’s Grove
When Mary, a thumbing ghost of a chance
Asked if I knew how to ballroom dance

Dark and dismal a crooked plie’
This wasn’t a dance but The Brimstone Ballet
Sensually sinister & hard to resist
Her Grand Jete and its splits

She brought me to life when I needed it most
Showed me another side to my ghosts
Music and drink at an Abbey Pub
What I called friends well she called it love

Dark and dismal a crooked plie’
This wasn’t a dance but The Brimstone Ballet
Sensually sinister & hard to resist
Her Grand Jete and its splits

I wanted her youth and a little pleasure
She wanted love with no bounds or measure
So much for our dance light and airy
When she began to lead it all turned scary

She wouldn’t take no for answer
She said I was much more than a dancer
She said we were connected souls
That’s why I’m hitchin’ back to the grove
Thanks for stopping and dropping me home
If you see Mary walking keep driving alone

Art Work up for Under the Skin Vol. 1

Posted on April 1, 2013

Had to scan in CD covers, but now the album, Under the Skin: Vol. 1, has art work!

This got me thinking, why can we not find the original art work? Thought it was here, or there, looked, searched, and came up empty.

File management, archiving and backup are crucial, but annoying parts of what artists must do to keep moving forward. With everything being removed from the tangible form to one that is digital, the ability to lose files or even worse entire hard drives looms over the artists’ head. Every time a HD spins up, it rotates hundreds of times per second and the platters wear themselves out a little more. Maybe use the solid state (SSD)… As far as I can tell they can still go down, but are totally not recoverable.

There are those who have lost important data, and those who are going to lose important data. That’s it.

Now one could argue, well just store everything in the cloud, then it will always be available and secure. Well, maybe this option will become more feasible when a cloud storage of 100 TB is easily affordable and accesible.

Currently at REB our back up is as follows:

1) Main hard drive – 1 TB pretty full

2) Back up 1 – using the Apple Time Machine to a 1 TB drive

3) Back up 2 – by hand, just a drag and wait drop onto another 1TB drive weekly

4) Back up 3 – by hand, once a month

5) Back up 4 – completed project BU stored off site (always a BU at your mama’s house)

6) Individual back ups on Optical storage of final projects.

There’s also some Google Drive stuff to backup legal docs and contracts and stuff, and to make things accesible for download.

And I’m still scared. 🙂

Where Three Roads Meet

Posted on March 19, 2013

Where Three Roads meet is now up under The Cleft Way‘s production section.  REB is happy to bring another great album to its catalog.

New Album Updates

Posted on March 18, 2013

REB Records is excited to have a new release coming to the site.  It is from singer Kym Franklin in collaboration with The Cleft Way.  The album should be up by tomorrow (3/19/2013) and is called Where Three Roads Meet. Originally released in 2004, REB is excited to have this new addition to our catalog.  You will be able to download it for a “pay what you’d like” model, so check back soon!

The End Zone

Posted on March 13, 2013

Working to finish the TEE albums has been interesting and fun and tedious and with many surprises.


It is strange how a football team’s defensive line always steps up and plays with a little (or a lot) of extra stuff when the offensive team is in the red zone. These last five to twenty yards are where the pressure of “holy crap, we are so close” meets “hell no, not in my house.” In a football game these are 300 pound men with millions of dollars on the line, and a half million people watching (read as judging) their effort and execution.

On an album (or creative project) these 300 lbs dudes are thin wispy ghosts. They are hard to identify, they sit just behind your equipment, and your eyelids. It is the unexpected hard drive crash, the angry email because things are behind, the production team that suddenly wants to change the art work, doubts that the last two years of production were worth it, etc. etc. etc… The 300 lbs are spread through the minds of all affiliated or related to the project. These Obstacales are just as strong, just as big, and play twice as hard in the last 5% of the game.

Have you experienced this? It is ridiculous, but predictable. It brings amazing artists to their creative knees, and leaves productions that should be available and enjoyed (or hated), rotting on hard drives and melting on tape machines. Finishing is a mind set of staying true to the intent of the project, and staying in the “zone” all the way to the end. This is the hurdle; the path to say, “check this work out,” and give it meaning and purpose.”