To quote him from a recent interview, "This idea that it costs 6 digits or more to make a great recording is selling the artist and the public short. What ends up happening is that 5% to 10% of a label's repertoire ends up supporting the whole organization and the rest of the stable are considered losers and write-offs. The little guy then ends up making no money from his recording efforts because he is so in the hole from over inflated initial costs. Meanwhile the label ends up being a creative vehicle for the very few big selling artists and the "big get bigger" and the "rich get richer" and the public and the music suffer.
    The plight of the independent label and artist is no picnic, but by and large it's where the most creative work is going on. It is the place where an artist can build their craft, develop a following and maintain their integrity. When the time comes and you feel like you're ready, then a foundation has been built. If not, then maybe more of a niche market is the place for you.
Let's face it, the populace do not drink the finest of wines and neither must they partake in the finest of music and media. There is a very mainstream market that most big labels have to shoot for. I don't think that it would be an unfair assessment to acknowledge that the mainstream music market is essentially a fashion business of sorts. And as such, is can basically be a business both superficial and shallow in nature. The independent however, while not completely devoid of such constraints, can delve into waters deeper and more meaningful and with perseverance, can do just fine establishing themselves in more of a niche market. A market where creativity and new ideas are accepted and even welcomed."
    Having spent more than 5 years as an audio technician, one might wonder about Earls' views on the state of technology in 2002. "The technology explosion of the last few years has been really great for everybody. It has allowed the home recordist to move way up the quality ladder and it has allowed smaller production facilities to sonicly compete with the big production houses. But basically when it comes down to it, it takes a great song to make a great recording. The newest or the shiniest toys available aren't ever going to take the place of that."
When asked about the wide repertoire of artists he has worked with Earls responds, "I've recorded classical to country, from industrial to celtic, and for music to really work for me it must relay some strong sense of emotion, idea or melody. Preferably all three, but one done really well can work just fine. The type of music it uses to do that is really irrelevant."
    So how did a renaissance man like Robb Earls end up in Nashville and what has it meant to him? "I was born here. The concept of living in a major music mecca is something I suppose I am very used to. Nashville has much to offer creatively, personally and environmentally. My major problem with this city is much less obvious today than it was say in the 80's. But it's still very menacing in this industry as well as several others, and that's what I call the Hollywood syndrome. The idea of putting all the same "A Team" players on your production, hiring an image consultant for hair, makeup and breasts, finding a collection of so called "hit songs" from the stable of contrived songwriters is total bullshit. They'll find someone that has a unique flair and suck the life right out of them. It's such an antiquated Hollywood approach that needs to stop. There are too many starving real artists out there that are talented and have something to say for these money people to be wasting their resources on stupid schemes. This industry and this town were built on real characters with real stories, anything short of that is simply contrivance."
    As indicated, the career of Robb Earls was built working with artists in a variety of musical genres. To capitalize and bring out the very best an artist or band has to offer, is the goal he works for daily. Robb Earls is an outspoken, unique individual. He brings a wealth of experience and knowledge to the artists he works with. He is truly a discriminating engineer/producer that works for the artist.