In this day and age of shrinking budgets and digital technology, what do you need a sound engineer for? You’ve got a computer; you’ve got all the samples and plug-ins. You create music alone in your project studio and may never experience recording a real drum kit, piano or guitar. Not part of your sound? Studios too expensive for you? Well, fair enough, but I’d say you’re missing out on what a lot of us engineers already know - there’s magic in recording together, magic created in a moment that can’t be sampled, quantized or saved as a preset. When the equipment’s running smoothly, you’re happy and find your groove easily; when there’s a groove, there’s music from the heart - magical music. As an engineer, I do my best to nurture these moments and create an opportunity for all clients to grow, to reach beyond their comfort zones and learn something. I don’t think that knowing everything about equipment makes me a good engineer. As far as I can tell, facts and knowledge do not pave the road to a Grammy. Passion does. And I’ve got heaps. If I can spout off specs but can’t tell you what the gear sounds like or what to do with it, then I wouldn’t hire me. I would hire me because of my experience with varied clients and my ability to get a good take out of anybody. I engineer because it allows me an opportunity to help other people grow and be creative. Not because I think it makes me another producer on a project. Oh, and I can tell you what to do with the kit. So why is the personal approach better than being a gear head? Because it pays to work with the person and not the equipment. You may not know or care about the gear, but you do care about being listened to and respected. I listen. And I’ll happily try all your nutty ideas. When working alone, you miss the group dynamics and the collective learning. You have no independent ears to listen with and can’t benefit from a bit of aural objectivity. That’s why you need an engineer; that’s why you need me.
WANTED: Inspiring producers and bands to work with. You must be flexible, be willing to try new things, have a good working knowledge of Chris Farley sketches and occasionally turn it up to 11. You will also be good hosts, good fun and good listeners. Sense of a musical community outside the industry and a desire to learn something new everyday are bonuses. If this is you, then we should talk; I look forward to hearing from you.