ZB: When we first met, you were performing around the Chicago area doing mainly jazz, Brazilian, and classical music. When did you start learning about the technical side of recording music and what drew you to that interest?
SA: I bought an Mbox in 2004, mostly just to have a way to record ideas for demo purposes. This was before GarageBand existed. I had produced my 2003 CD, Scottinho Batizado, but that was more of a creative oversight role. I wasn't really involved in the technology of it. I moved to NY in 2005 to try my hand at film music and invested in a more professional home studio rig. I have scored two feature films as well as several shorts and during this process I really had to learn about sound, recording, mixing, mastering, reverbs, dithering, busses, etc because I was doing everything myself. It was like learning a new instrument. And it turns out, I love this instrument as much as I love the guitar! I then started mixing for other people, which grew into producing and mastering.
ZB: What does the term "producer" mean to you and how do you see the producer's role in the recording process?
SA: I recently watched a Benjamin Zander video on TED and he talks about when he had the epiphany that the conductor of an orchestra doesn't actually make any sound. He "depends for his power on his ability to make other people powerful." He says that he realized that his job was to "awaken possibility in other people." Every production job is different, but I kind of view it the same way. Whether I'm coaxing a passionate and in-tune take out of a singer, or just letting the musicians do their thing by making sure everything is taken care of technically or by providing charts or whatever, the role of the producer is really to create an environment where the musicians he's producing are free to create at their highest level.
ZB: When did you first become aware of the benefits of having a producer in the studio with you?
SA: During the recording of Scottinho Batizado, I worked with Geraldo de Oliveira, a great percussionist and producer in Chicago. As the artist, I had to worry about the music, the ensemble, the creative and artistic intent (all these things are hard to put into words - to paraphrase any number of people, talking about music is like fishing about architecture.) Having him involved to record, manage the data, and as a trusted pair of ears was invaluable. There are all these things that come up in the process of making a recording, like what sample rate to record at, or what mic to use on the snare drum, or who to call to engineer the session. Having someone take care of those things, creates a space for the artist to make music unhindered, and is very valuable.
ZB: With "The Magic Number", have you formulated what your approach is going to be as you work with the different members of the trio and the studio's engineer?
SA: Basically I'm going to come in like a truck and boss people around in the most obtrusive way possible. I'm kidding. Zach, Matt and Fred are all fantastic musicians. For them, I'm basically going to stay out of the way musically, but be present to give creative feedback if asked for it. On the technical side, I'm just going to make sure all the ducks are in a row to capture a clean and honest performance.
ZB: Do you see potential musical benefit in the concept of a "micro producing" forum?
SA: Of course. The music industry is like the wild west right now. Anything and everything goes. I love this forum and it's forward thinking approach. The old paradigm isn't going to work anymore. You know that cliche, "it takes a village to raise a child?" Well, it also takes a village to make a record, and this is a great way to foster and cultivate a village for "The Magic Number."
ZB: How could the participants voices be most effective in supporting the musical outcome of the project?
SA: Well, first by pledging, but if you're reading this, you've already done that. (Thanks!) I also think the participants can stay active in the process, reply to posts, etc. Most people have no idea how valuable and inspiring a little comment like, "I hear you. Keep going." can be whilst in the trenches of making a recording. In the old way of making a record, the "village" was just the band, the producer and a few trusted friends. Now we have this wonderful community of support, who have pledged and given the message that they believe in this music. Support and belief aren't only about the money, however. Stay active. Keep involved. We need you.Thanks for reading. Go here to help support Zach and be a web 2.0 microproducing badass yourself.
