Audeze catches up with Atlantic Studios songwriter, engineer, and producer Ross Owen

Ross Owen is an artist, songwriter, engineer, and producer from New Jersey. Ross works as a recording engineer in Atlantic Studios NYC, and produces his own music as well as other indie artists in his home studio, Avenue B.

"My LCD-2 closed back headphones have allowed me to work comfortably in headphones for much longer amounts of time than any other set of headphones I've used." - Ross Owen

Here's our chat with Ross:

Can you pick out any highlights from your work that you're particularly proud of?

One of my first independent productions I am still super proud of was for Jessica Browning’s album Into Me Sea. I had the pleasure of recording, producing and mixing this record for Jess, who is a classically trained harpist and vocalist. After a successful first record, I produced her second album Her Odyssey at the beginning of 2023, which dove into a more electronic space than the first record. The Atlantic studio team and I worked on an Atlantic production with an artist called Joe P, on his motion picture If We Run, recording both film audio and the musical performances that were woven into the story line. Joe comes in to record in Atlantic often and is super fun to work with, being the only artist I know that starts recording at 6 am. I used to be a barista and still believe the early bird gets the worm, so I think it’s great. As for my own work, my last EP Trail Mix was a special one completed with my partner Georgi James; who is featured singing on the record and joined me in the writing of the nature inspired songs. I explored recording and producing with primarily acoustic instruments on this record, so lots of world percussion and orchestral influences scattered underneath my acoustic guitar and banjo playing.

How would you define your main role on most of the projects you work on these days?

In Atlantic Studios NYC I’m working as a recording engineer most days, while also handling edits and spedup nightcore remixes for artists across the label. Outside of New York, in my home studio, Avenue B, I’m often working with indie artists as a producer/mix engineer. I’m always writing and producing my own material in between. I’m the kind of producer that can sit back or be very hands on with musical contributions, so my home studio is permanently patched up with drum mics, keyboards, guitar amps, and auxiliary percussion; always ready to go. I find myself on many sides of the music production process, but I like it that way as it keeps my perspective sharp for any situation I might get thrown into.

How did you get started in music? What kind of music did you listen to while growing up and how has that progressed?

I got started in music thanks to my dad, who put a set of bongos in front of me before I could even speak. As a recording engineer himself in Scotland during the late 80’s/early 90’s, he introduced me to sounds from the UK such as Prefab Sprout, Scritti Politti, and the Blue Nile. Once I started learning the guitar, I got heavily into progressive rock such as Rush, Yes, and King Crimson, amongst others. My taste has only broadened, with Beck being one of my all-time favorite artists alongside Steely Dan. As for more current artists of my time, I really enjoy Fleet Foxes, Turnstile, and L’Impératrice. All of which sound nothing like each other; however I love keeping an open mind (and ears) to experience new music.

Can you name any factors that influenced the course of your musical life? Heroes, role models, moments, interactions, etc?

I’d give my dad, Scott Campbell, all the credit. Beyond his stories from his days working in studios with artists like The Blue Nile, Annie Lennox, and Robbie Robertson; he gave me the opportunity to record at such a young age by having the experience and the equipment to be able to do it. In fact, at 7 years old, he recorded me singing vocals for Bohemian Rhapsody which thankfully hasn’t made its way onto the internet yet. Onward to helping me write my first song, to producing my first album, he paved the way for me to be able to put out three full-length albums myself before turning 21. As he would like to say, I’m riding on his shoulders; but I know I wouldn’t be where I am today without the knowledge and thought processes towards creating and capturing music that he’s passed on to me. It’s also cool knowing your dad was a recording engineer at the same age as you (currently 22), as it feels humbling yet so inspiring at the same time to see how much music and audio engineering has enriched his life.

Can you briefly describe a moment of frustration from your past work, and what you may have done to overcome the obstacles? Would you approach it differently now?

I’d say when I first started making my own records, I found it difficult to separate the musician’s ear and brain from the producer/engineer’s mindset, which is critical to remaining objective to the song. After having the chance to work on other productions, to now working in Atlantic Records’ studio for any artist who may be in; I’m able to apply both mindsets. This has helped me in my own writing to turn off the mixing brain, but also when mixing for other artists being able to be detached from the song writing and performing process.

Is there any gear you find yourself turning to most when working on a project? What are some of your favorite tools/instruments recently?

I really enjoy tracking with outboard gear, with tools like Pultec EQPs or 1176’s. In Avenue B I’ve got a pair of Warm Audio EQPs that sound great, along with a WA-76 into my SSL Nucleus2, which I use when tracking vocals through a WA-47 tube mic. As for instruments, I’ve grown to really love the baritone guitar. I picked up a Danelectro one last year and have put it all over my next album, Deep Breath, Hurry Up. I also love tucking the banjo into my productions, not in a hillbilly way (although also rad) but in a more melodic, textural kind of way.

Do you have any words of wisdom for people who might aspire toward a similar path for their own careers?

If there’s anything you can do yourself in this line of work, even if that’s writing and producing your own music, do it. Refining the craft and doing these things often is what makes us better, along with being a sponge from anyone who shares their creative processes with you. I love being able to learn from other artists, engineers, and producers that I’m in the room with; seeing how they do what they do and make magic happen.

How long have you been working with headphones, and how do you typically use them in your workflow?

I’ve been working with headphones during tracking for a long time now, but have just recently started incorporating them into my editing and mixing workflow. I enjoy doing this for critical listening on detailed things such as clicks, pops, tuning, and timing, but also for getting low end right and simply gaining another perspective.

Do you have any additional comments or stories you want to share?

I’m really excited for my new album Deep Breath, Hurry Up that came out June 28th, 2024. It’s my first piece of work being put out after graduating college and working full-time in the music industry, which has been nothing short of a crazy yet exciting ride so far.

How have your Audeze headphones affected your work?

My LCD-2 closed back headphones have allowed me to work comfortably in headphones for much longer amounts of time than any other set of headphones I've used. They've also given me the ability to enjoy the best listening experience while tracking, with no spill even when recording into the most sensitive microphones or during intimate recordings.

Can you tell us what you've been working on with them recently?

I've had the opportunity to work on several different types of projects with the LCD-2 closed backs, ranging from editing/mixing to tracking/writing. I'm particularly enjoying working on these when tracking and producing with various instruments for my own songwriting. I look forward to continuing using them in my home space where I work with other artists/musicians in the same room, which always makes closed backs a must.