In general, the alternative bands Scott and Al work with seem to really enjoy the ambience and pace. The running clock and the mounting expense are comparatively minor issues when recording at Orchard. As bands Scott works with are in the early stages of their professional careers, they still have more time than money, so the leisurely pace and low-key facilities are more a comfort than a burden.

There is no commercial front end to the operation, either. Scott does not advertise, doesn't compete with the local studios in the area, doesn't have a sign, nothing. Zoning is not an issue, irate neighbors don't exist, security isn't a problem. In short, Scott has neatly bypassed all of the usual commercial headaches that beset most of us in business for ourselves. Total cost, over the years? Scott figures he's spent about $40,000 on everything, starting in 1986 (or $5,000 a year, on average). He hangs onto stuff, doesn't try to update or run in the technology race. He generally pays cash, or puts stuff on short-term plastic. His monthly expenses are the cost of utilities, insurance and a telephone! Does this begin to sound cool, or what?

And whatever its shortcomings, from Scott's standpoint it sure beats the alternative route to his artistic goals. "This was the only way I could get direct engineering and producing experience without spending extended time as a gopher or second engineer in a regular commercial studio, which would have meant I couldn't work at Masterdisk.

"There was, however, a point in my work at Masterdisk," Scott goes on, "when I began to feel I'd put my career ladder up against the wrong building. I began to get more caught up in going home to work in the studio than in my work at Masterdisk. Naturally, this caused some frustrations and tensions, particularly with Bob Ludwig. But it was really important for me to make music, and I think Bob understood that."

So now, interestingly, Scott feels the most serious challenge to be faced is to maintain the balance he's achieved among the various elements in his life, particularly with his recent marriage and thoughts of having a family (yet another familiar life situation). "I need to stay semi-pro," he says. "I keep being tempted to improve the facility, increase bookings, do all the usual business development things, but then the studio would take too much time and resource, and I'd have to make it earn too much money just in order to pay for itself."

So, instead, Scott is focusing more on artist development, working with beginning bands until they reach the point where they need full-time production services. He's happy to let them go at that point, knowing full well that if and when they fly into stardom, they'll be back to see him, at Masterdisk! Clever, eh?

Meanwhile, running up to LaGrangeville to cut the grass and put up storm windows, etc. at Mom's house, is no big burden, actually no burden at all. Because time and money pressures are relieved and he's having fun recording bands while visiting Mom, the quality of such life activities is greatly enhanced for Scott. Most of us have dreams. Scott's doing his!

Dave Moulton is having fun interviewing guys like Scott. Beats working!

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