Mark Winter started out in music as a piano playing three-year-old. Since then, it's been a long and interesting road in the industry. He's written music for just about every type of application imaginable; Winter was a founding member of the Epic/Sony act Illusion, he's written and produced music for Goodyear and other radio/television clients, and has produced a wide variety of recording artists.

Winter's current work includes the producer/program director spot for WebmasterRadio.FM, and his new CD, Another Round For My Friends. Gearwire's Joe Wallace caught up with Winter to ask him a variety of questions about the business, the technical side of his recording work, and what it takes for an artist to survive and grow in a crowded business.

Joe Wallace: You've been recording for a long time...

Mark Winter: I've been recording since I was 13 years old, in the house, and as I went through high school I had a basement studio. Then when I was in college, then I started recording in New Jersey. I got most of my professional recording experience there. Back then it was mostly 24-track analog tape, which was good because it helps in my recording now. After that, I decided I was spending way too much money in studios, so I created my own studio where I do all my projects now.

Did you start off writing music for other people? How did it all evolve for you?

I started out writing mainly for myself, but later on I started writing for other people. In the past ten years I started writing projects for other people. But I got to the point where I decided I needed to do a project for myself, so in the past year I recorded my own CD and that's what I have out now.

What kind of equipment do you have in your studio, and what did you use to record Another Round For My Friends?

Right now in my studio I use Cubase. I tried other things, Pro Tools and I like the way Cubase sounds and works. I'm using that for my main vocal tracks, I'm also using WaveLabs and Adobe Audition. I'm still using outboard sequencers, I find they're faster. For sound modules, I've got my Korg M1, I've always used Korg. I use E-Mu, I just got the Yamaha Motif, I like it a lot.

Your new CD is a country album, but you say you're using outboard sequencers. Country is one of those genres where traditionally speaking, the presence of sequencers, synths, and such wouldn't seem to be part of the mix. With that in mind, how did you use your electronic gear, but remain true to a country aesthetic?

You're right, it's true, although country is a little more modern today. I did stay pretty true to the music; I had my guitar, bassist, and drummer. On some things, I used a real piano, and on other things I used samples that sound real. I did add a little bit of electronics in this project, just very tasteful things here and there.

You really have to stay true to the instruments. If you want to use strings, you really need to learn how a violin would play, how a cello would play. On the keyboard you want to play it how an actual orchestra would play it.

How do you get the sounds to come off being more "organic"?

I combine sounds from three or four different sound modules. They are all okay, but I'll mix strings from my Korg M1 with the strings from my Motif, then I have a Roland and I'll mix with that. Then I'll split them left, right, and center so you get the sound of a whole orchestra. I find you get the most realistic sound that way.

One thing you've mentioned you are particularly keen on with physical instruments is tuning. Some would consider that a no-brainer for many styles of music, but it seems you've seen and heard things as a producer that have made you pay closer attention?

It's such a simple thing, and yet I hear so many demos where the guitars are out of tune with each other and the other instruments. It really does make a difference. Take the little extra time to tune up, and do it frequently between takes.

In part two of our interview with Mark Winter we discuss how the recording industry and the equipment it uses has changed over the span of his career.