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PAGE 14 â€"â€"MWATERLOO CHRONWICLE, WEDNESDAY, SEPTEMBER 21, 1983 Ross MacDonald Chronicle Special In a business as often cutthroat, egotistical and generally cutâ€"andâ€"dried as the record industry, Rick Hutt and Doug Biggs would prefer to buck the trend than be trendy for the bucks. There are no inflated egos here, although their skills could warrant such. Rather, these two multiâ€"talented record producers with the penchant for working with financiallyâ€"limited local musicians believe that a profesâ€" sional commitment to the artist is first and foremost. Huttâ€"Biggs Productions, which operates out of Cedarâ€" tree Studios on Trillium Dr. in Kitchener, is a labor of love officially realized 18 months ago but which was basically the culmination of a 10â€"year friendship. As Biggs states wryly, "Rick and I decided to stop working for others and form our own company. We felt that it would be the only way to share the creative ideas we had acquired over the years and in turn create a career for others." Both men have impressive credentials. Hutt is a skilled multiâ€"instrumentalist, with a backâ€" ground in rock, jazz and classical music. His credits include a stint with the early 70‘s band Spotfarm and more recently as a keyboardist with the Ian Thomas Band. Writing jingles is also part of his repertoire and the list includes the themes for CKCOâ€"TV, CFL football and National Waterbeds. But the one he is most excited about is the theme for the 1984 Olympics on CTV. Biggs, while also an accomplished musician and jingle writer, is more involved in the technical aspects of the business. He has more than 15 years of experience in sound engineering, musical composition and performance and audioâ€"visual and video production. Like its principal residents, the studio itself would probably be modest by industry standards but one is immediately impressed by the knotty pine and cedar decor that extends from the lobby into the control room and studio. The recording area features an array of musical instruments, tape machines and studio monitors. It is a 16â€"track facility which allows up to sixteen different instruments to be controlled individually. Even with $40,000 worth of electronics, Cedartree would pale in comparison to the major studios. But according to Biggs, bigger isn‘t necessarily better. ‘"Although we are a small studio we have the equipment and expertise to match the larger ones. And because we are smaller, the musicians can concentrate on playing without worrying about some exhoribant hourly fee." _ When a potential client b}ings in a demo tape, it is important not only to evaluate the artist‘s budget and what his goals are but also whether the project is marketâ€" able. The recording area at Cedartree features $40,000 worth of electronics, including musical instruments, tape machines and studio moniâ€" The samplings Biggs previewed from several pet projects were nothing less than stunning. The taut arrangements are magnified by sonic dynamics so rich and thick you swear you could lean on them. And if such quality of production and performance.mean anything, the current stable of talent may indeed yield several nugâ€" gets. _ Random Access‘ tongueâ€"inâ€"cheek "Loto Employment", with its Human League textures and pulsating rhythm sounds like a hit already. Equally contemporary although slightly more danceâ€" oriented is Madonna Tassi‘s "No Change". A gifted studio singer with a dynamic vocal range, Tassi‘s style draws initial comparisons to Bonnie Tyler and Laura Brannigan although "No Change" far outshines the recent mundane releases of the latter two. _ Other major projects in the works or near completion include Clyde Hamilton, a reggaeâ€"pop songwriter from Guyana, Becky Barrie, a young vocalist from Roseville and the Huttâ€"produced The Seven Minutes whose EP will be released Oct. 5 on A&M. Once the master tape has been completed, Hutt and Personal projects, however, have been put aside until the company is in a financial position that will allow the time. And once the aforementioned credibility is well established, such finances will be necessary to fund Spin Records which is their own private label. The technoâ€"talk sparked an impromtu session during which Biggs demonstrated how the computer can simulate the actual instrument sound desired. His vehicle was an intense piece entitled ‘‘Multiplex Motion"‘ that also featured Hutt on his portable Casio keyboard and which will be featured on a future E.P. Each partner is confident that future success will be realized through the creative energy that now exists. You might say, for the record of course, that success is in the taping. Story: Ross MacDonald Photos: Stan Switalski