Personalities in the studio

I have been spending more time behind my digital board, moving faders and placing microphones. Ironically, the years working as a therapist has proven to be very beneficial while tracking bands. Since I’m dealing with egos that need to be massaged and ideas to be explored, my approach can set a tone for the session that either encourages creativity or results in tension. If I’m so focused on what my ears are telling me, I overlook a very important aspect of recording: personalities.

It doesn’t take long to observe personalities and how it’ll affect the recording process. When artists are unloading their equipment, temperaments take over. Will they immediately get to business? Do they want to chat for a few minutes and relax? Right away you can pick up on things about the artist that can help you adjust the environment to their needs.

Most bands have at least one member, typically the vocalist, that is determined to have every track perfected. As a producer or engineer, you can rely on this member to diplomatically point out flaws. Hopefully the relationships in the group is strong enough that you’re not caught acting as the mediator between artists. Every band needs a leader, and when there isn’t one, the engineer or producer is often thrust into this de facto position.

This past week I recorded several songs with Nathan Edwin, an experimental folk artists from South Bend, Indiana. He showed up carrying bags of musical instruments, alone but capable of recording most instruments placed in front of him. As he described his passion for painting, I gathered quickly that he saw recording as a blank canvas on which to paint heavy strokes of texture. It only made sense… knowing he was an art major in college.

This was going to be a fast paced recording session. Limited time to record three songs prevented us from going over the same guitar track until things were perfected. Instead, it was a matter of setting the microphones right to limit noise yet allow a creative flow. If he was waiting on me to tweak with the placement then the inspiration to record that particular instrument might be lost. He needed to be able to get it right within two or three takes because his mind was already thinking about the next stroke of color to add to the recording.

As an engineer I’m always trying to think ahead of the artist, and read the environment. As they’re walking around the room thinking about the next layer to add, are they tripping over cords and microphone stands? Do they feel comfortable enough to relax? Do they need candles lit and the lights dimmed? When they’re picking on the banjo, am I already recording their “run through” so they can hear it back? These are all things that can affect the recording process.

Often times the line between the engineer and producer is blurred in today’s tight budgets. I always assume that I’m there to capture the sound that the artist is hearing in their heads, and won’t pry into the producer’s role unless the artist invites me into that seat. This only happen when trust has been established, and is followed with the question: “What do you think?”

By understanding personalities and their specific needs, artists usually feel safe enough to trust. Since their art is directly connected to their self image, I always believe that I’m there to help the artist explore, whether or not my opinion is sought or not. Hopefully I can create a safe place where this can be done in free form, where they can move freely from instrument to instrument, adding strokes of texture and color. After all, it’s not about what I want on the canvas.

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