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Report: #1173324

Complaint Review: Greg Droman - Franklin Tennessee

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  • Reported By: Bill Palmer — Nashville Tennessee
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  • Greg Droman 809 Aldwych Circle Franklin, Tennessee USA

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I am submitting this RipOff Report based on my experiences with engineer/producer Greg Droman, from Nashville TN, USA. I undertook Droman's "services" from late 2012 until approx. August 2013.

I have waited approx. 12 months from the date of my experience with Droman in order to:

1) Allow Greg Droman sufficient time to resolve the issues (which he hasn't done, or even attempted to) and;
2) To allow time for emotions to subside and cool over, thereby approaching the issues in a rational manner.

Being that Droman hasn't done anything to resolve matters, I feel it is in the best interests of other prospective clients to file a RipOff Report in order to alert other consumers to my experience with Nashville engineer Greg Droman. I was in Nashville at the start of the year, this year (2014), and offered to meet with Greg Droman in order to talk through the issues. His reply to me seeking to resolve matters face-to-face was: "I really don't think there's any reason to have to get together…"

A brief summation of my experience with Nashville engineer/producer Greg Droman is as follows:

I recorded in Nashville in May 2013 with engineer Greg Droman, whom who I hired to engineer and mix my own original music. The understanding from the start (in writing, via email), was that he would be engineering in the studio (RCA Studio A, Ben Fold's Studio) for 2 days, and that we would do some overdubs at his home studio (also in Nashville), with him then mixing and mastering it all after-the-fact.

Somewhere along the line, Greg Droman got it in his head that he was the "producer" even though all he did was setup microphones and sit behind the recording console. He played no musical parts on the recordings, and did not add to the arrangements in any way, shape or form. Most importantly, Greg Droman was NEVER hired as the "producer."

I directed the musicians and called all of the shots, and paid for EVERYTHING, both in the studio, and after-the-fact.

I found out, during the sessions, that Greg Droman didn't even listen to the music before the sessions were underway (charts and Pro-Tools sessions were sent to him approx. 6 weeks beforehand!) and he was still trying to follow a chart whilst we were doing overdubs, which was frankly, embarassing. Droman also had trouble hearing punch in clicks/pops and is what I describe as "incompetent" in so-far as operating Pro Tools at a professional level. I found all of this out while working with him.

In addition, after the initial studio sessions were completed, he then attempted to foist "producer points" on me, and arranged a meeting for me with his attorney to this effect. I bristled at this, because the fee we agreed to, was his own choosing and Greg Droman did not "produce" anything with regards to my music, unless sitting in a chair and moving a microphone is now classed as "production."

Our relationship began to break down after this, and he attempted to get me to wrap the project up (after I had left Nashville, and was back in Australia), even though he promised me (in writing) that he would work on the music, and I quote: "until you are happy," and further that he would spend (again, a direct quote of his, in writing) "however many days" to get this done.

I had paid him half of his fee upfront (see below for specifics), prior to the studio recordings being undertaken with the understanding the other half would be paid after everything was completed.

After the relationship broke down, Droman claimed he had consulted with his attorney and that he had "intellectual copyrights" over the sound recordings and in addition, he demanded 60% of his remaining fee and also refused to sign a "work made for hire" agreement, that I had requested.

I countered, and offered him 30% of his final fee on the proviso he sign the work made for hire agreement however, he refused outright and again demanded 60% of the final fee. On that basis, I refused to pay him anymore as I could not trust that he would stick to his word.

Greg Droman also later claimed he had mixed 90% of the songs after I left Nashville and was back in Australia, however when I asked for proof of this, he then claimed to have deleted the mixing he had undertaken. His words to me were: "I've got about 10% of my commitment to finish this project left to do."

Lastly, before the studio sessions were undertaken in Nashville, Greg Droman was paid $450USD (2 payments of $225USD each) for the mixing of 2 compositions via PayPal. To date, no high-definition files have been delivered and as stated above, Greg Droman claims to have deleted these. In his own words: "they're in digital heaven."

Some points I would like to clarify regarding my experience with engineer Greg Droman:

1 - All songs that were recorded WERE MY OWN original compositions, or arrangements. I provided engineer Greg Droman, the studio and the musicians (Michael Rhodes on bass and Shannon Forrest on drums) with MY OWN transcribed charts, along with Pro Tools session templates containing tempo, section markers and guide tracks.

The musicians and Droman were given charts and Pro Tools session files approx. 4-6 weeks before the studio sessions. Despite this, Greg Droman was not familiar with the music and did not even bother to listen to my back catalogue, given to him approx. 6 months beforehand.

2 - I paid FOR ALL studio time, for the assistant at the studio, for the musicians (incl. cartage) and for meals on both days of recording. I also purchased Greg Droman gifts (a $70USD bottle of scotch, and his wife some George R. R. Martin books) and paid for many lunches with him.

There are a number of issues I encountered whilst working with Nashville engineer Greg Droman:

1 - Producer Points

When I hired engineer Greg Droman, he quoted me a fee of his own choosing ($10,000USD; in addition to the $450USD mentioned above), to engineer, mix and master 11 studio pieces, along with mixing and mastering 11 pieces I had engineered myself. This fee, was what he said (and I quote): "I know I can be comfortable with."

After the studio sessions had been completed in Nashville, Greg Droman raised the issue of "producer points" and in a covert and underhanded manner, using guilt and emotional appeals, attempted to strong-arm me into assigning him royalty fees. I was uncomfortable with the entire thing as he was never hired as the "producer" and importantly, didn't produce anything on the recordings. He also said nothing about this when quoting me his initial fee that had been agreed to. In short, Greg Droman moved the goal posts to suit himself.

His job was to engineer, mix and master the compositions, which was clearly outlined in email communication. Suffice to say, producer points were NEVER a part of the original deal, and Droman acted dishonestly by landing them on me after the studio sessions were completed.

He later organised for me to see his attorney, dressing it up as a "networking opportunity." When I explained to his attorney the nature of the arrangement, his attorney said that Greg Droman should be under a work made for hire agreement. Even though Greg Droman's attorney promised to get back to me, I NEVER HEARD FROM HIM, despite many repeated phone calls and emails on my behalf.

2 - General Incompetence

Although Greg Droman has worked with some "names" in the industry, his Pro Tools skill-set is what I would describe as "amateur." I have taught undergraduates the use of DAW software at tertiary institutions here in Australia, and have had students who could run rings around Droman on an off-day.

As an example, Droman lost my overdubs several times, he took over 40 minutes to perform basic tasks such as inserting silence into a session, he managed to botch the time-code on a song and was overall, extremely slow and docile in his workflow. He also couldn't hear punch in transients and would argue with me when I pointed them out, saying to me: "No sorry, I can't see anything." When I would press the matter, he would zoom in and eventually find the offending glitch but his ears are what I would describe as "lazy."

His excuse for his slowness and general incompetence was that he "doesn't have an assistant anymore" because the budgets he is working with now don't allow it. Additionally, when Greg Droman handed over the session files for the studio recordings, they were a total mess. He clearly doesn't adhere to industry standard conventions as outlined in the "Pro Tools Session Guidelines for Music Production." Regions and tracks were named poorly and general file management was, in my opinion, non-existent.

He also complained about the length of the songs I had written, even though, as mentioned, he was sent Pro Tools templates, notated charts and demo files approx. 6 weeks beforehand, just as they were sent to the musicians. He also failed to listen to my other recorded works, even though these were given to him about 6 months prior to the studio sessions.

3 - Dishonesty

Greg Droman claims to be a Christian and his wife (Marilyn Martin) is a so-called gospel artist. While I was in Nashville, Droman (and his wife) tried to get me along to his church. Despite this, I later discovered Greg Droman was a part of a FaceBook group called: "Suck My T*** and F*** My Loose Wet V*****" (see screenshot, here: https://www.dropbox.com/s/vxwk589kgfmsa6n/Dromans%20Group.png) which appears to be some kind of casual sex or swinger style group.

As also mentioned, Greg Droman went back on his word with regards to my project. He told me (in writing) that he would work on the project "until you are happy" and that he would spend "however many days" to accomplish this. These statements were clearly misleading and were said in order to secure the deal. 

By moving the goal posts after the project had begun, by not sticking to his word, and by engaging himself in what appears to be an online sex/swinger FB group, I feel this undermines Greg Droman's claims at being honest and "Christian."

4 - Negativity

After working with Greg Droman for around 2 weeks day in, day out, I found him to be an extremely negative and depressed person. When one is engaged in a creative endeavour, the last thing you need is to surround yourself with negative and depressed people, it is a sure fire killer. 

As an example, Greg Droman bitched about "taking a hit" (financially) all the time, he bagged out former and present clients, other engineers and producers, studio managers, and even one of the musicians on the session. He has (in my opinion) an entitlement mentality and thinks he should be paid top dollar for just turning up.

He also became intoxicated one night while we were working on a track and his wife Marilyn had to come down and apologise for his behaviour. I found this extremely unprofessional. 

Conclusion

Based on my experiences with Nashville engineer Greg Droman, I would not recommend his services, and nor would I ever use them again. What was supposed to be an "experience" creatively speaking was soured by the antics and incompetence of Greg Droman.

Please note, I have all email correspondence and screenshots which provide validity to these claims. 

 

This report was posted on Ripoff Report on 08/29/2014 07:49 PM and is a permanent record located here: https://www.ripoffreport.com/reports/greg-droman/franklin-tennessee-37069/greg-droman-producer-points-dishonesty-incompetence-lazy-nashville-franklin-tenn-1173324. The posting time indicated is Arizona local time. Arizona does not observe daylight savings so the post time may be Mountain or Pacific depending on the time of year. Ripoff Report has an exclusive license to this report. It may not be copied without the written permission of Ripoff Report. READ: Foreign websites steal our content

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REBUTTALS & REPLIES:
4Author
1Consumer
2Employee/Owner

#7 Author of original report

How Sad? I Agree

AUTHOR: Bill Palmer - ()

POSTED: Saturday, September 13, 2014

Hi Marilyn. I agree this whole episode is sad. However, from my perspective, Greg backed me into a corner and refused to dialogue with me. I also know that he spoke negatively about me to others who were involved in the project, black-balling me.

I offered Greg $1500 in addition to the $5450 already paid to him, on the proviso he sign a WMFH agreement, and to leave the matter there. As Greg had threatened me with "intellectual property rights" I needed this document to "move on."

Greg refused though and while Michael and Shannon initually agreed to give me WMFH documents, they later refused to communicate and never came good on their offer to sign the documents. Gee, why is that I wonder? Amazing coincidence?

From the time this went down, I gave Greg 12 months to sort things out. I offered to Skype with him many times. He refused. 
I offered to catch up face-to-face earlier in the year. He refused. 

At least this way, anyone who wants to know what went down can see things from my perspective. 

 

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#6 REBUTTAL Owner of company

How Sad

AUTHOR: Marilyn Droman - ()

POSTED: Saturday, September 13, 2014

Bill, did you not remember that Jace was kind enough to loan you his amp free of charge?  How sad that you can't accept the fact that possibly it was you who created such a negative work environment.

Believe me, I do not want to start a dialogue, but how can I not defend someone I know to be true and a dear friend who has known and worked with Greg way longer than you?

You can spread your accusations of discontent, but to what end?  Please move on, for your sake and your families sake.  You have a loving wife who supports your musical indulgences.  Be grateful and please move on!

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#5 Author of original report

Reply to Mrs Droman

AUTHOR: Bill Palmer - ()

POSTED: Saturday, September 13, 2014

Firstly, before I get into this, I am very sorry to have to involve Marilyn in this fiasco. That was never my intention.

As previously stated, an offer was made to Greg Droman earlier in the year to meet face-to-face in order to discuss matters. HE DECLINED to do so. In fact, while this whole thing was blowing up, I offered to Skype with Greg repeatedly, but HE REFUSED EVERY TIME. One wonders why that is?

Marilyn says I: "became so insulting and abusive that communication was nearly impossible..."

I don't honestly know how she can say that. In truth, it was Greg who became insulting and abrasive, and who refused to Skype and speak with me in person. Again, why is that? 

I will go through Marilyn's reply point by point:

Bill Palmer, a teacher/guitarist from Australia, contacted Greg about producing, recording, and mixing a double album of his original material. The problem was that Palmer had very little money to make this happen. To help make the tight budget work, Greg agreed to take less pay than he had in 20 years and proceeded to ask for discounts from the top Nashville musicians who had agreed to play on the project, the studios they were to track in, and rental gear suppliers

Firstly, Greg was NEVER hired as a "producer." There was a vague reference to him undertaking "production" in a visa application but that is all, and I can only assume that is what Marilyn is referring to. 

Secondly, the assertation that Droman was "taking a pay cut" is the first I've heard of the matter. I have in email correspondence where Droman quotes me his fee. His EXACT WORDS are: "I know that's more than you had hoped for, but it's what I know I can be comfortable with, and the players seem okay with it."

Greg didn't say: "It's a real stretch buddy, but I want to make this work," or anything to that effect. So I find Marilyn's words to the contrary to be both underhanded and untenable. 

As for "asking for discounts" I never asked Greg to do that and in-fact, I hired equipment for the sessions in addition to flying 4 guitars over along with bringing my own strings, pedals etc. I paid for both muscians cartage fees, even though one of them rang me THE DAY BEFORE and requested that I do so.

The idea that I rolled up and plugged into all of Greg's gear is silly. Greg took on the project and he knew what needed to be done to make it happen. If he "borrowed" some stuff from his friends to make it happen, I fail to see the big deal here. He simply did his job. I've done the same thing from time to time and certainly don't try and hold it over the client's head as though I'm sacrificing myself for the gig. 

The first day of tracking Palmer got in Greg’s face about the cartage company charges. He aggressively accused Greg of not disclosing the charges to him. For musicians to have their equipment delivered to a studio by a cartage company is the norm in Nashville, especially for players of this caliber. If Greg forgot to mention that there would be a cartage charge it would have been because it is simply protocol. After all Greg had done to save precious budget money, this angry accusation was an unexpected affront.

I had asked Greg to disclose to me fully, prior to flying over EXACTLY WHAT CHARGES I WOULD BE UP FOR.
Droman, in his typical half-baked way, didn't give me "full disclosure" and from what I can gather, just assumed I'd be up for surprise charges here there and everywhere. As it stands, I didn't "get in Greg's face" I simply was surprised that he didn't see fit to give me advance warning of the amounts, as I had asked him to. 

As I say, the cartage was paid, along with other costs not disclosed to me before the fact, incl. studio assistant prep time and others. If Greg is going to work with international people, then he might need to understand that cartage is not a universal matter. I explained this to Greg many times prior to the sessions, and asked him for a comphrensive list of charges. But alas, it didn't happen. 

When it came time to do guitar overdubs at our home studio Palmer borrowed Greg’s guitar amp and proceeded to blow it up, never offering a penny for repairs. These may seem like petty incidents to bring up, but they speak to Palmer’s suspicious nature and lack of basic consideration that eventually led to the acrimonious situation we find ourselves in now.

Re Droman's amp "blowing up," yes we were using his Deluxe ampifier, and it did malfunction. Greg didn't seem bothered by it at the time and from what I understand, it was a tube that went, that's all. These things happen with tube amps, it's all part and parcel of the sound. Let me be clear that he (Greg) was operating it, not me. He just gave me a lead to plug into and that was it. To imply that I was responsible for the damage is silly. To make out like I'm responsible for Greg's equipment is grasping at straws. Droman is responsible for his gear, just like I am mine. If it breaks down, then its his deal to sort it out, not the clients.   

After 3 weeks and countless, long, arduous hours of working together, Palmer headed home to Australia where he decided to terminate the agreement, having only paid Greg half of the amount agreed upon. Palmer, who had seemed to be on board with the progress the album was making when he left Nashville (with the exception of a few drum tracks), became so insulting and abusive that communication was nearly impossible. Palmer would email his grievances, Greg responded point by point, but no middle ground or understanding could be reached.

I'm not sure what Marilyn is talking about here? "Long ardous hours?" As I recall, the project was on Greg's timeline and he frequently bumped me to fit in major label projects, which was fine and I understood Greg had other work to fit in.
However, let me be clear, if Greg wanted a day off to go hit the Jewish country club, then that is what we did.
I also tried many times (unsuccesfully) to get Greg to look at some of the solo pieces I had composed, but he wasn't interested. 

Greg was paid half of his stated fee upfront (the same fee that he said: "I know I can be comfortable with") as that was the arrangement. The deal was half upfront, and the other half when the project was finished.
However, Droman had a moan about a $35 bank fee that he was charged on his end, when I transferred the initial $5k. He was compensated for this fee, IN CASH when I arrived in Nashville. To make out like I did him over is ridiculous.

I also offered Greg and additional $1500 after I had terminated him, on the basis that he sign a work-made-for-hire agreement. 
DROMAN REFUSED and instead, demanded $3,000 and said he would not sign the WMFH until I had paid him.

The deal was terminated when Droman told me he was 10% away from fulfilling his duties, even though he told me (yes, I have it in email) that he would work on the album "until you are happy" and added: "however many days." So Greg had moved the goal-posts yet again and undermined our initial agreement. How is that OK?

Again, I have to point out that I offered to Skype many times. He refused. Greg threatened me (his client) with "copyright ownership" of my own music, and to get his lawyer involved. He never once retracted those statements and so, after 12 months of allowing Greg time to cool down and settle things with me man-to-man (which he DID NOT do), here we are.

I have PROOF IN WRITING that Greg made these threats to me. Why did he not retract this? Anyone who has spent thousands to record their own music isn't going to take this kind of garbage laying down. Droman's words to me were: "I've been in touch with ___ (his attorney) about this, and he assures me that I have intellectual property rights concerning these recordings."

I find it odd that Palmer, who could have easily just used the money he didn’t pay Greg to finish his album, moving on with his life and career, chose instead to focus on a sick vendetta and defamation of a man who bent over backwards to help him.

There is no sick vendetta. As I have stated many times, I offered numerous times to Skype with Greg, to discuss matters civily. He declined. I offered to meet with him in person, in Nashville, earlier in the year. He declined. I posted this report as a matter of due dilligence, in order to warn other indie artists. 

In regards to the accusation that Greg asked for points, he didn't.

Was Marilyn in the car when Greg made the underhanded comments about indie projects he was: "taking a real hit on?"
No she wasn't. Greg never outright said to me: "I want points on your album," but he bought the topic up, and then proceeded to make things uncomfortable for me afterwards by constantly spewing his negativity about him: "taking a hit" financially since the good old days.

My wife visited me while I was over there, and we had dinner with Greg and his wife. Greg showed her his studio and she commented that it was a nice setup. Greg's razor sharp reply to her was: "It's not a hobby but it pays like one."

He made these kinds of disparaging remarks on a daily basis, which made things very uncomfortable for me. Given that he then sent me off to see his attorney (oh wait, it was a "networking opportunity" right?) then it's not unreasonable for me to form the opinion that he wanted producer points, or additional revenue. 

I could go on further with Marilyn's points but this is already long enough. Suffice to say, I paid for many things in addition to Greg's quoted fee incl. a bank charge, bought groceries for him, an $80 bottle of scotch, books for Marilyn and many lunches and meals etc. Not to mention the fact that I flew over to meet to with Greg personally in Nov. 2012, to meet him face to face and see whether I could work with him. Some people you don't know until you actually "work" with them, Greg being one of those guys. 

I hope this clears up the matter for anyone reading this exchange. Greg is nice enough guy on a certain level but from a business point of view, in my opnion he is unprofessional. 

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#4 REBUTTAL Individual responds

Bill Palmer, Deeply Disturbing

AUTHOR: Marilyn - ()

POSTED: Saturday, September 13, 2014

My name is Marilyn Droman and I am responding to the complaint Bill Palmer submitted against my husband, Greg Droman, and me. I realize each individual will almost always have a different perception of the same situation, but Bill Palmer’s perception is deeply disturbing.

The facts are as follows...

Bill Palmer, a teacher/guitarist from Australia, contacted Greg about producing, recording, and mixing a double album of his original material. The problem was that Palmer had very little money to make this happen. To help make the tight budget work, Greg agreed to take less pay than he had in 20 years and proceeded to ask for discounts from the top Nashville musicians who had agreed to play on the project, the studios they were to track in, and rental gear suppliers. Palmer still had a problem with his budget so Greg and I invited him, a veritable stranger, to stay in our home to save him the hotel costs. For a 3 week stay at an economical hotel his cost could have easily been at least $2,500 for a room and meals. The reason Greg wanted to try and make this work is because he is also a guitarist and thought it might be a fun, worthwhile project.

The first day of tracking Palmer got in Greg’s face about the cartage company charges. He aggressively accused Greg of not disclosing the charges to him. For musicians to have their equipment delivered to a studio by a cartage company is the norm in Nashville, especially for players of this caliber. If Greg forgot to mention that there would be a cartage charge it would have been because it is simply protocol. After all Greg had done to save precious budget money, this angry accusation was an unexpected affront.

When it came time to do guitar overdubs at our home studio Palmer borrowed Greg’s guitar amp and proceeded to blow it up, never offering a penny for repairs.

These may seem like petty incidents to bring up, but they speak to Palmer’s suspicious nature and lack of basic consideration that eventually led to the acrimonious situation we find ourselves in now.

After 3 weeks and countless, long, arduous hours of working together, Palmer headed home to Australia where he decided to terminate the agreement, having only paid Greg half of the amount agreed upon.  Palmer, who had seemed to be on board with the progress the album was making when he left Nashville (with the exception of a few drum tracks), became so insulting and abusive that communication was nearly impossible.  Palmer would email his grievances, Greg responded point by point, but no middle ground or understanding could be reached.

I find it odd that Palmer, who could have easily just used the money he didn’t pay Greg to finish his album, moving on with his life and career, chose instead to focus on a sick vendetta and defamation of a man who bent over backwards to help him.

To answer the discrepancy of whether Greg was hired to produce or not, Greg has a document stating that Bill Palmer hired Greg Droman to produce, engineer, and mix. If anyone would like to see it I will gladly forward.

In regards to the accusation that Greg asked for points, he didn't.

To answer the disgusting accusation that Greg is a part of a sexually explicit Facebook group, there was a Facebook “friend” he had to unfriend because the person was posting such things. The internet is a playground for people who feel the need to broadcast their insanity. This RipOff Alert site is a perfect example being a place where anyone with a grievance can spew unfounded, unsubstantiated poison.

Palmer has called into question Greg’s integrity and skill. I’ve been with Greg for 40 years and have never seen him be anything but honest, caring, and dedicated to always doing the right thing, and nobody reaches the level of success that he has without an impeccable work ethic and superior skills.

Now for my personal experience.

To agree to host a stranger in my home for three weeks was a huge step for me, but I had met Palmer once before and he seemed like a nice enough person. I made special efforts to serve gluten free dinners (according to Palmers strict diet) every night for 3 weeks except for a couple of nights that he went out.  I did his laundry - washed, folded, and put in his room. I made sure he had clean sheets every week. We actually had fun dinner conversations about Game Of Thrones and I was touched when he purchased 3 of the books for me before he left. A thoughtful gesture from someone who would later attack me.

I don’t know what more I could have done for him, and I don’t know why he felt compelled to attack me and my faith so despicably, but I do know that for him to hold onto such bitterness for so long is concerning. We have changed our locks and alarm code upon hearing he has moved to Nashville. 

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#3 Author of original report

In Reply to Mr Jace Everett - Droman's "buddy"

AUTHOR: Bill Palmer - ()

POSTED: Friday, September 12, 2014

In reply to Jace Everett's "rebuttal" I offer the following points:

Jace's first 2 paragraphs are to bemoan the website "RipOff Report." That's fine, but nothing I can really reply to.
Then there is this:

That hugely annoying reservation aside, I find myself compelled to come to the defense of a man I have known for over 10 years. Greg Droman is one of the most talented and successful engineers and producers in Nashville history. The assertions made (as if they were fact) by Bill Palmer about the work ethic, skill set and general character of Greg Droman are libelous, defammatory and beyond the pale of honorable discourse. The very fact that this “man”, Bill Palmer, chose this format to make such wild and hilarious accusations should be more than enough evidence that he is of low and nefarious character. However, in this modern age where any simpleton with a broadband connection can say anything they wish, I feel a duty to defend my friend and colleague.

If Greg Droman truly is "one of the most talented and succesful engineers / producers in Nashville history" then I'm Mother Theresa. Having said that, I am sure that many people have had a great experience with Greg Droman. If your music consists of 4 chords and lyrics about hay bales and cotton fields, then he's probably your man. No argument there.

It's obvious that Jace is defending his friend and his personal bias is clouding his judgment. Again, that's fine but he's ignoring the bulk of what I said, and instead trying to make out like Greg Droman is a Nashville version of Eddie Kramer.

However, Slant Magazine (reviewer Jonathan Keefe) referred to Droman's production as: "uninspired" and further added: "if he (Jace Everett) can get away from producers hellbent on as middlebrow a mainstream country sound as they can muster, can build a more impressive name for himself than does this self-titled debut effort."

See here for more info: http://www.slantmagazine.com/music/review/jace-everett-jace-everett 
I suppose in Jace's mind, Jonathan Keefe doesn't know what he's talking about either? I would agree with Keefe, Droman's skilset would fall into the "middlebrow mainstream country" zone. Again, if that's your thing, he's probably your man. Go for it, knock yourself out. However, Droman assured me he would be up to the task of mixing/engineering my music, which he wasn't.

Moving on, Jace adds this:

To assert that Greg Droman has any incompetence in the studio, and in particular with ProTools, is quite possibly the dead give away that Bill Palmer is a bloviating fool. I honestly have no idea what this person is talking about. Ask Brooks & Dunn, Fleetwood Mac, Jude Cole, Faith Hill, Gary Allan and countless others… who is “Bill Palmer” again?

Again, I based the review on my experience. I cannot comment, or say how Droman works with his MAJOR LABEL country brethren. As I said before, I'm sure in many cases, he is fine. However, for what I do, he was laclustre and I yes, I felt, "incompetent."

If I must reiterate it again, let me be clear: Droman lost my overdubs on 2 occasions, he botched the time-code several times (ie - the track begins to drift out of time etc.), changed the tempo on one of my songs from 112BPM to  and when he was asked to perform basic tasks such as "insert silence" he took far longer than a "competent" Pro Tools engineer would. I would have been thrilled if Greg Droman was (to quote Jace Everett) "one of the most talented and successful engineers and producers in Nashville history." If that were the case, would I be writing this report? I doubt it. If Droman was truly of that standard, I'd be another very happy customer.

But, professional criticism is acceptable. Perhaps delusional in this instance, but it has it’s place. However, using this ridiculous and unethical web site to publish a mans home address and phone number, accuse him of indecency and verbally abuse his wife? Well, that my friends is cause for litigation. And I certainly hope that litigation against Mr. Palmer and against the owners of this web site is in the works.

Jace Everett says "professional criticism is acceptable." What a shame that none of it seemed to be "acceptable" to him. Am I missing something???

Where did I accuse Droman of "indecency" and where did I say he "verbally abused his wife?" Everett might need to go back and re-read my post. I simply posted up my experiences with Greg Droman. I personally found him to be "dishonest" and based that on his words to me about how long he would spend on my project, along with his claims of being a "Christian" which were called into question after I happened to see a FaceBook group he was affiliated with. 

If Droman wishes to instigate litigation against me, he is more than welcome to do so. In-fact, I welcome it. 
Lastly, Everett adds this fallacy and proves he wants to play the man, not the ball:

Bill Palmer, you have no integrity, no honor and no decency. You are a liar. I can certainly see why none of us have ever heard of you or your “music”. 

I am not a liar. I have all the emails to prove what went down with Droman and myself, along with screen-grabs of his FaceBook group. I have the original session files, as handed to me, which are a complete and utter mess.

Anyone vaguely familiar with the document "Pro Tools Session Guidelines for Music Production" would know there are standards in place for handing over Pro Tools sessions. 

Everett also said nothing about Droman's unethical "producer points" carry on, failed to mention his FB group and wasn't able to really offer any constructive feedback except to defend his friend.

Again, let me iterate I gave Droman 12 months to sort this out. Apart from threaten me with with "copyright ownership" of my own songs and recordings that I paid for, and to make other threats me with lawyers, he's done nothing. I offered to meet with Droman face-to-face earlier this year, to talk over things. He declined. 

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#2 UPDATE Employee ..inside information

An Unfounded Character Assasination

AUTHOR: Jace Everett - ()

POSTED: Friday, September 12, 2014
I am submitting this rebuttal to the “RipOff Report” posted by Bill Palmer.

 

Frankly, I’m hesitant to do this. The ethical standard of this very web site is reprehensible. Posting to this web site is therefore a dubious venture, as it merely validates the existence of something that, from my perspective and the perspective of other educated people, is in and of itself, dubious.

 

How can a web site allow people to post whatever trash and detritus they wish, slandering the name of someone with zero proof, evidence or even secondary confirmation?

 

That hugely annoying reservation aside, I find myself compelled to come to the defense of a man I have known for over 10 years. Greg Droman is one of the most talented and successful engineers and producers in Nashville history. The assertions made (as if they were fact) by Bill Palmer about the work ethic, skill set and general character of Greg Droman are libelous, defammatory and beyond the pale of honorable discourse. The very fact that this “man”, Bill Palmer, chose this format to make such wild and hilarious accusations should be more than enough evidence that he is of low and nefarious character. However, in this modern age where any simpleton with a broadband connection can say anything they wish, I feel a duty to defend my friend and colleague.

 

Greg Droman was the engineer and co-producer on my eponymous debut for Sony Records in 2005.

He may be an engineer, but he is also a d**n fine musician, without whom, my song “Bad Things” would not have become a global hit. 

He has since worked on two more albums of mine and always brings an exceptional attitude and a set of skills that are second to none.

 

To assert that Greg Droman has any incompetence in the studio, and in particular with ProTools, is quite possibly the dead give away that Bill Palmer is a bloviating fool. I honestly have no idea what this person is talking about. Ask Brooks & Dunn, Fleetwood Mac, Jude Cole, Faith Hill, Gary Allan and countless others… who is “Bill Palmer” again?

 

But, professional criticism is acceptable. Perhaps delusional in this instance, but it has it’s place.

 

However, using this ridiculous and unethical web site to publish a mans home address and phone number, accuse him of indecency and verbally abuse his wife? Well, that my friends is cause for litigation. And I certainly hope that litigation against Mr. Palmer and against the owners of this web site is in the works.

 

Bill Palmer, you have no integrity, no honor and no decency. You are a liar. I can certainly see why none of us have ever heard of you or your “music”. 

 

I know Greg Droman to be a kind, loving and decent man. That’s likely in your favor Bill Palmer. Would that you make such asinine assertions about me, a strongly worded rebuttal would be the very least of your concerns.

 

Signed,

 

Jace Everett
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#1 Author of original report

Still No Word From Greg Droman!

AUTHOR: Bill Palmer - ()

POSTED: Friday, August 29, 2014

Months have gone by and Droman still hasn't seen fit to personally respond to the issues here. Instead, he hides behind his wife and his "atheist" (to quote Droman himself) buddy Jace Everett. 

That really says it all as far as I am concerned. I have to again point out that he was given 12 months to sort this out with me, his client. I tried again and again to resolve matters, both via Skype and in person, but Droman showed his immaturity by refusing to dialogue with me, and then running me down behind my back to others. Classy stuff.

It seems that somehow, (just as in the recording sessions) he imagined he could call all of the shots and expect no backlash in return. 

The ridiculous response from his wife regarding his FaceBook group affiliation (the sex-swinger style group) was also a red-flag insofar as it gave no real or serious reply to that topic, except to imply it was somehow the fault of a FaceBook friend.

I can only hope that Droman has learnt some humility from this scenario and in the future doesn't attempt to take advantage of indie artists who are only trying to help themselves.  

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