Celeste Di Iorio – Owner
Name: Celeste Di Iorio
Title: Owner
Company or Organization Maple Street Music Agency
Artists or projects worked with: Cary Morin, Young Ancients(trio with Cary Morin, John Magnie & Steve Amedee of the Subdudes), Jeff Finlin, Jalan Crossland, Ray Bonneville, Shelley King, Pura Fe Trio, Subdudes, Maxwell Mud, Brian Kittrell
*I have not done studio production with all of these acts. Rather, I have either assisted with production, done tour routing, managed, or done publicity work with them. I have done production work with Cary Morin, and Young Ancients in conjunction with Studio Underground. While my current focus is my agency, I am still involved in production work with Cary Morin and offer to assist other artists that I work with.
FEMMUSIC: How did you get started in studio production?
CDL: I have been managing Cary Morin for over 6 years now. I have been very involved with all aspects of Cary’s recordings from studio production to PR, distribution, etc. I’ve worked closely with Cary Morin and Young Ancients in most phases of the recording process from direction to production. I am not a recording engineer.
FEMMUSIC: What do you look for in projects? What are you to accomplish in a final product?
CDL: I look for musical viability. Is this something new and fresh? Is it polished through and through? If there are cover tunes, are they delivered in a new and original way? The final product should be flawless, with a rich sound quality , level, and should begin and end with the strongest material that will remain with the listener. I tend to favor recordings that are done “live in the studio,” or with the least amount of tracking possible. I think it’s important for artists’ recorded works to be as close to their live sound as possible. I think there is a lot of authenticity in recording in this manner. This is what the Rolling Stones just did, and I am eager to hear their new album for that reason.
FEMMUSIC: What challenges do you see for women in studio production?
CDL: I’m not quite sure what challenges there are for women specifically in studio production. I think there is sometimes a perceived “credibility” issue with women on the music business side just because they are women, particularly with regard to recording and live sound. I believe that this will continue to improve as more and more women move into this profession.
FEMMUSIC: What mentors did you have when learning?
CDL: My mentors are folks who have been in the recording and/or sound business for 30+ years. I have learned by doing, and being involved over the years. I have lived in Austin, New Orleans, Denver, and Fort Collins and have been involved with music in all of those places. I have never formally studied production.
FEMMUSIC: Are women in studio production treated differently than men? How do you see this?
CDL: As I said earlier about challenges for women, I do see women on the production side being treated differently. I have experienced this myself over time. I always try to remain diplomatic, though my goal is to get the best sound/production for the artist, no matter who is controlling the production.
FEMMUSIC: What advice do you give to women wanting to go into studio work?
CDL: I encourage women to enter into this field. I would advise anyone who wants to work in the field to find someone(s) that they can apprentice with for a significant period of time. Before spending resources on educational programs, get out there and try it on for a bit. Work in studios and work in live settings. Get as much of 360 degree view of the sound/production sides of the business as you can.
So far, I have only met one woman in studio production work, and she is a Grammy winner – talk about credibility!
FEMMUSIC: What one thing would you change about the music industry?
CDL: I am hoping for a less competitive and more collaborative industry looking to the future.