Page 56

g n i d r o c e R e h t In with ' Connor

Words Aoife O

The sole owner a recording studio, the guitarist inowner Dublin-based hardstudio rock Sundance band and At twenty years ofofage Matt Hayward already is the sole of recording only twenty years of age, Matt Hayward already has quite the résumé. But then again a Crow as well as being the guitarist in a Dublin-based hard rock band. But then again a career career in music was always on the cards... in music was always on the cards...


f one had to select Matt Hayward’s doppelganger it would be without doubt the late Irish guitar legend Rory Gallagher. And similar to his long-haired lookalike, Matt joined his first band Honeycomb when he was just sixteen. But going one step further, Matt embraced his entrepreneurial side at the same time knowing that the music industry was his calling and installed a vocal booth in the box room of his home. “I borrowed a 4-track and some mics and it snowballed from there really,” he says modestly. Sundance Crow, the studio itself came about in 2009 when he moved from the confines of his home-based recording booth

to Wicklow town, a forty-minute commute south of Dublin city. Having studied Music Production, Hayward is adept at the ins-andouts of what is needed to produce a high quality sound. The equipment he uses in studio is a Protools set up. “I typically use the Rode NT1-A on vocals, depending on the voice but I find that to be a very good all rounder,” he says. And he’s right, the Rode NT1-A has become an industry standard with its ability to deliver an extended dynamic range with superior clarity. Other installations Hayward relies on include the Shure M57 microphone, “a very good goto mic for guitar, but can be brittle,” says Hayward. When it comes to amp mics, he relies on the E609 and for

the drums he’s been experimenting with Audix microphone. “I have a lot of Marshall half stacks for my dirty guitar tones,” he says. “Running a tube screamer through a JCM800 and getting the right EQ seems to suit me for distorted tones. For cleaner sounds it’s the Roland JC-120 he uses. Hayward proudly adds that Irish singer-songwriter, producer and instrumentalist Ciarán Brennan gave him an original from the 70s as a gift for working with him. Despite all the equipment and the range of abilities studio producers can exert to manipulate sound, he explains that the recording process itself is wholly dependent on the attitude and the capabilities of those who come to record. Practice and preparation go a

Profile for Aoife  O' Connor


Prototype folk music magazine


Prototype folk music magazine