A note from producer Travis Geiman

From the beginning, I’ve had a deep passion for collecting unique and vintage instruments, not just for myself but for the artists I work with. There’s something special about handing a musician a one-of-a-kind piece of gear and watching their creativity ignite. It sets the tone for a session in a way no plugin or preset ever could.

That same philosophy led me to start Bigfoot Studios. I made a deliberate choice to take a different path than most up-and-coming engineers. Instead of leaning on samples, loops, or triggers, I wanted to stay grounded in the craft of capturing real instruments, played by real people, in real time. To me, engineering is more than assembling sounds; it’s about honoring the instrument and preserving its true voice.

Countless hours spent refining mic techniques and experimenting with gear combinations have all been in pursuit of authenticity. I want the listener to feel like the music is unfolding right in front of them, like they’re standing in the room with the band. That kind of realism is what makes a recording feel alive.

At Bigfoot, the computer is just the tape machine. I track with an old-school mindset because there’s magic in capturing a performance as it happens. When talented musicians pick up great instruments and everything locks in, you’re not just recording sound—you’re preserving a moment in time.