E&V is a small studio with professional results. Our work can be heard in films, on TV, and on international recordings. We specialize in vocal and acoustic instrument recording, particularly in Broadway, Jazz and Classical music, but we work in may other genres as well.
Vincent Ricciardi is an Italian style operatic tenor. He has been an entertainer and studio vocalist for over 15 years appearing on soundtracks, new musicals recordings, and various demos by vibrant new songwriters. He specializes in Opera, Italian/Neapolitan song, old school Broadway, and the American songbook.
Emily Ricciardi is a legit Soprano II and belter. She has performed throughout the United States and the United Kingdom specializing in old school Broadway, Opera, and the American song book.
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Interview with E&V Entertainment
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I loved my work on the "Charlemagne" albums. They gave me a lot of freedom to try new things and there was some real collaboration. I gave them a take with the climactic ending of "Bloody Verdict of Verdon" and it was used. They were even unsure about how one of the tracks should go on the second album and let me play around with the lyrics and create the hook to the instrumental they had already recorded. It was used in the final product, which was very cool.
Q: What are you working on at the moment?
A: I'm planning a new Christmas Album by my wife and I and will feature real orchestral instrumentation. It's a new challenge for me and I'm really excited about it.
Q: Analog or digital and why?
A: I love Analog Gear and I love Digital flexibility. I have some of both and use what I have to my advantage. It's more important to know the gear you have than to have tons of pieces you don't know how to use properly.
Q: What do you like most about your job?
A: I love making music.
Q: What questions do you ask prospective clients?
A: I need to know what the product is going to be used for. A songwriter looking to get a piece recorded is a very different client than a client looking to record a piece for a large release. I also ask to hear the piece in some form before I agree to work on it. I want to make sure my voice is suited for the project so no one wastes any time or money.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My Mac, UA Apollo, MK U67, Tabfunkenwerk V78M, BLUE Bottle Rocket Stage 2 with caps.
Q: What was your career path? How long have you been doing this?
A: I started studying musical theater at the Long Island High School of the Performing Arts and went on to Adelphi University to study music (classical voice) and theater performance. At 19 I began as a studio vocalist for a few new musicals, new songwriter, hooks on R&B tracks and it grew from their. I built my first home studio at 22 to continue to work at my own pace. I was also an up and coming crossover artist at the time. When I was 25 I began making the transition from musical theater and crossover work to opera, and found my niche as a crossover artist in the vein of Mario Lanza who could really sing everything.
Q: How would you describe your style?
Q: Which artist would you like to work with and why?
A: I'd love to sing with Tony Bennett or Anthony Warlow. I think they are both at the top of their fields and huge influences on me. I'd love to work with Al Schmitt and just watch his engineering process from mic choices and placement to mixing.
Q: Can you share one music production tip?
A: Find the process that works for you; whether its a signal chain or a method of working. You being in "your" element will give you the best results. If you are behind the console you need to strive that your client is in "their' element.
Q: What type of music do you usually work on?
A: Broadway, Claissical, and Great American Songbook are the music I record most often. I've also appeared on pop songs and light rock. As an engineer I've worked on a lot of different styles of music from my own music which is Broadway, Claissical, and Great American Songbook, to industrial rock, rock, light pop, and light R&B.
Q: What's your strongest skill?
A: The flexibility and quality of my voice in various genres has always been my greatest asset. For engineering, it is my ears. They are very sensitive and I tend to hear everything.
Q: What do you bring to a song?
A: I will always give my clients the song as it was written, but I will often include some variations in separate takes. For example, in my recording on "Charlemagne: By the Sword and Cross" the ending was a repeat of the previous chorus. I felt it was a little dull, but recorded it as written. I then provided a more exciting ending with a big high A climax. It was the take used on the final album. As an engineer I often take my time with a track, as I tend to be a perfectionist. I reference my favorite work in the genre I'm working in, or an artist that my client has stated is an influence and go from there. I use a fairly simplistic approach and only EQ and compress when needed. The hardest thing to learn is when not to do anything to a track.
Q: What's your typical work process?
A: For vocals I will often listen to the scratch vocal and rehearse with it a bit before starting the recording process. I like to record a few full takes and then comp.
Q: Tell us about your studio setup.
A: We run Protools 12 with an UA Apollo Quad interface. We have a very nice microphone locker allowing us to utilize the best microphone for the project. We also have a number of preamps to choose from as well as the Apollo Unison Technology.
Q: What other musicians or music production professionals inspire you?
A: Emily and I are old school vocalists heavily influenced by singers like Julie Andrews, Judy Garland, Mario Lanza, and Sergio Franchi. Al Schmitt is probably my favorite engineer.
Q: Describe the most common type of work you do for your clients.
A: Classical, classical crossover, jazz, and Broadway style vocals. Mix engineering.