Face The Music Faces The Producers

The very mainland state in Australia now has its own annual music conference and each claims that theirs is the most vital. In its fifth year Victoria's Face The Music has proved to be one of the more popular events of this kind. For all of those knowledge-hungry folks out there intending to work in the music industry or wanting to learn something to further their music career, conferences like Face The Music are invaluable and I'd suggest, well worth the meager investment to attend. Taking place again at Melbourne's fantastic Arts Centre complex and once again running in parallel with the Australian World Music Expo, the two-day conference takes place on Friday 16 and Saturday 17 November. The event, presented by The Push and Music Victoria, features presentations, discussions, networking, live music, practical workshops and the hottest tips and tools to give your music career the edge. This non-profit event is made possible by the contribution of a host of music industry professionals including high-profile artists, booking agents, promoters, artist managers, music lawyers, record label directors, event managers and publicists, generously sharing their time and experience. 

GARETH PARTON

Where did you get your start?

I studied at SAE in London in the mid-'90s and started working as a freelance assistant at loads of the top London studios – Strongroom, Townhouse, The Church.

Most memorable session and why?

Working with The Breeders. Kim Deal was my hero since her early Pixies days, so it was exciting and daunting to work with her. 

The session you're most proud of and why?

Working on the first couple of Foals singles was pretty special – there was a big industry buzz around them at the time and I had to make sure the hype was matched by some decent recordings.

What do you ask of an act when you begin a session?

That they are open to experimentation in the studio. It's not necessarily about recreating their live show.

Best tip for the home recordist?

Buy a few bits of better quality gear, rather than lots of cheap stuff. Concentrate on capturing good performances rather than over editing.

Tips for recording guitars?

Play well! Get guitar tones right at source rather than over EQing in the mix. Guitar choice/pickup choice/amp choice/pedal choice/mic choice: all change the sound hugely. These days I'll often record a direct signal from the guitar as well as the amp (I can then re-amp this signal later to add any missing timbres).

Tips for recording vocals?

Make sure the headphone mix is right – too loud and the vocalist will over-sing. Having a great vocal mic, pre-amp and compressor always helps.

Biggest studio no-no for an artist?

This might sound a bit square but musicians getting wasted in the studio might seem fun at the time but 99% of the time gives crappy results. 

What do you see the producer's role as?

It depends on the band – more experienced musicians just need to know that their performances are being captured properly, less experienced ones need to be coached and given a helping hand. People management is a big part of it.

If you could work with any act in the world, who would it be?

Sonic Youth – I'm a fanboy.

JIMI MAROUDAS

Where did you get your start?

I have been playing music for as long as I can remember. Elvis was my first inspiration inspiring me to pick up the guitar at the age of four. As far as music production goes, I got a four-track recorder for my 16th birthday, seven years later I landed an assisting gig at Sing Sing studios which was a massive turning point and a life changing experience.

Most memorable session and why?

This is so tough as there are so many wonderful memories in the studio. One moment that I recall is being in Paul Kelly's bungalow/recording studio at the back of his house. We were recording Paul and Troy Cassar-Daley singing a duet. So there we were, squeezed into the bungalow and Paul is nonchalantly leaning on a mattress that is resting against a wall. Hardly raising his head to the microphone, he proceeds to deliver a jaw dropping performance! I remember Nash Chambers (who was producing) and I looking at each other, thinking this is just incredible!

The session you're most proud of and why?

When I was just starting out as a producer and engineer I received a call from The Living End to record and mix some B-sides for their forthcoming album release. I was super excited to be working with the guys and promised myself that I would work as hard as I possibly could to impress. We recorded six songs in three days and I mixed them all in two days. Throughout the recording session I could overhear the guys making flattering comments about how it was all sounding (bear in mind that they had just finished their album with Nick Launay who is absolutely incredible!). I just kept my head down and kept working. On our day off between recording and mixing their manager called asking if there were any rough mixes to listen to because the band couldn't stop raving about how the session was going. An empty taxi was sent to my house and I popped the only CD with rough mixes into the backseat of the car to be taken straight to management. A month later, I receive a call from the band's management saying, “Just thought we'd let you know that we're here mastering the album and the band loved what you did so much that a track you did has made the record! Congratulations.” Six months later I was back in the studio working on an exclusive recording with the guys the week that the album was officially released and went straight to number one. Home run!

Best tip for the home recordist?

Perspective. Really hard one to get, really important to have a handle on. So take lots of little breaks, do some exercise, listen to other music, come back to your music fresh.

Tips for recording guitars?

The player and the parts are key here, but options always help. So having a number of different guitars and amps on hand is always great as you can really tailor the soundscape to fit the mood that you're going after for any given moment. For amps, having a good sounding room can make massive difference too.

Tips for recording vocals?

Having the singer be absolutely comfortable and free from distraction is the most import thing here. I have recorded vocals in all sorts of different locations, environments and times of day, all in the attempt to have the singer feel most comfortable.

Biggest studio no-no for an artist?

Going into a session not knowing what you want to get out of it. Clarity of vision and realistic expectations are really important.

What's a benchmark album for you in regard to recording quality as opposed to quality of songs?

Quality of recording is always important and I go to great effort in continually pushing the sonic boundary. Ultimately I don't really think about music in those terms, it either moves me emotionally or not.

If you could work with any act in the world, who would it be?

Are we bound by time? If any artist at any time, working with Elvis on An American Trilogy (or Wooden Heart).

STEVEN SCHRAM

Where did you get your start?

Chris Thompson at triple j was kind enough to let me tag along to Live At The Wireless recordings and broadcasts.

Most memorable session and why?

Peggy Frew from Art Of Fighting stopping mid-vocal take to run off and deliver her baby.

Session you're most proud of and why?

Nobody got stabbed during the making of the Ground Components album. Close, but we avoided bloodshed.

What do you ask of an act when you begin a session?

To really listen to each others' parts.

Best tip for the home recordist?

Sounds good, is good.

Tips for recording guitars?

Small amps and well set up guitars. One microphone.

Tips for recording vocals?

Don't stare at them when they are singing.

Biggest studio no-no for an artist?

Being late.

What do you see the producer's role as?

The bus driver with a load of screaming school kids all wanting to go somewhere different. Some of them have motion sickness and some are wanting you to teach them how to drive.

Do you think you have your own sonic style? 

Yes, rough around the edges. Heaps distorted and over-compressed.