About

About

I’m Cody Hurst. Drummer since I was five, guitarist since a good deal later, and a hobbyist producer who got into recording because I wanted my own drums to sound like the records.

Formerly Hurst Audio Productions

For years this work lived at hurstaudioproductions.com. That name is retired; the domain now points here, so old links still land in the right place. Nothing about the work changed — it just moved in with the rest of what I do, under codyhurst.com.

The current name, Hurst Sound Studios, is the one on the YouTube channel where most of this actually gets published.

The short version

  • Age 5 Started on drums

    And never really stopped. A CB kit first, then DW, then the Mapex Pro M that turned out to be the right one.

  • 1982 My mother cut a 45

    Joy Coleman sang both sides of a single pressed in northeast Mississippi. It took forty years and a copyright database to find out what was actually on it. The full story.

  • 2007 Godsmack at the Tweeter Center

    Camden, New Jersey. Rob Zombie opened and stole it.

  • Later Guitar, then recording

    Gibson, Ibanez, Taylor, Epiphone, Dean, LTD — and Revv amps and pedals once I worked out what I actually wanted out of a gain channel. Recording drums and cabinets became the real hobby. The gear.

  • Years of it The Weatherscan archive

    Collecting the complete in-house music library, disc by disc, and putting it somewhere it wouldn’t vanish. The archive.

  • Recently AI music, and several albums

    In from the first weeks of Suno, and now with a catalogue out through DistroKid. What that is and isn’t.

  • Now REAPER on Linux

    Porting OSARA so the accessibility layer works on the one platform it hadn’t reached. The port and the wider resources.

What I’m going deeper into

Capture has been the focus for a long time. What interests me now runs the other way — building a sound instead of catching one.

  • Sound design

    Synthesis from the ground up. Understanding an oscillator, a filter and an envelope well enough to build the sound a part needs, rather than scrolling a preset list until something is close enough.

  • Instrument modeling

    What makes a modeled amp, cabinet or drum convincing — and, more interestingly, exactly where the models still give themselves away. Having spent years miking the real things, I have strong opinions about what the models get wrong.

  • Production technique

    Arrangement, bus structure, and the parts of mixing that are decisions rather than plugin settings. The craft that does not come in a plugin folder.

  • Keyboard and piano

    Learning it properly, as a third instrument. Right now I dabble; the goal is to play.

Get in touch

Worked with me on something and want it credited differently? Have a cleaner transfer of something in the archive? Knew my mother, or recognise a name on the 1982 single? Want to help with osara-linux? Any of those, I want to hear about.